This is how I watched Xiaojin's films. In my freshman year, I always said that I wanted to explore the world and travel around Sichuan. I had many dreams to realize and many goals to pursue. Of course, until now, I haven't done anything, I'm still standing still, and I've wasted many days without knowing it, as if everything has changed, and it seems that nothing has changed.
I don't know where to start, I gradually feel that Ozu's films are no longer boring. The characters in the film are so real. The daily trivial things in life, through Ozu's style, always make people harvest at the moment of watching. Many, not just moved, contain many unspeakable things. Maybe it's because I'm not good at expressing it. Maybe I'll go back and read Ozu three years later. I can use every word well to express it accurately, but not now. In addition, as I understand Ozu, the emotions maintained in the film are: happy but not promiscuous, sad but not sad. Probably so.
What Ozu is best at is that in the process of narrating, giving characters a lot of space. The narration and the presentation of the characters are complementary to each other, and the expression of the characters will not be arbitrarily compressed because of the suddenness of the event. In other words In other words, in Ozu's films, the characters are always greater than the narrative and do not succumb to the plot.
In "The Flower of the Other Side", the consistent Ozu style, the almost static composition, the objects that move in the stillness, and the father-daughter relationship that will never get tired of taking pictures have unsurprisingly become the main line, but in this relationship, it is full of confrontation, contradiction. Ozu placed his father's work relationship in a very high position, showing not only a family under the traditional patriarchal system, but at the same time depicting the delicate relationship between parents: a seemingly powerful father is not The master is the master of the house, and the real master is the mother, who is the spiritual pillar of the whole family. Under the camera, the mother's meticulous act of arranging the housework was captured in the low-position camera. It is only because of these few highlights that it can be seen that Ozu attaches great importance to this. At the same time, Ozu always arranged in the background of the mother's appearance. The red color he cared about the most. In the process of storytelling, the mother-daughter quarrel was often mediated by the mother. It was said that this was the story of Ozu's "widower marrying a daughter" as usual. It is better to look at the mother-daughter relationship from another perspective. , and the display of the second clue of the film "Sasaki's mother and daughter" to supplement the main body, it can be seen that this film can more or less see Ozu's attitude towards the mother-daughter relationship. In a deeper relationship, the mother is the stabilizer of the entire family.
When it comes to the red display, we can see carefully that whether it is a red kettle or a log table, it is always served by the women of the movie. Only before the end of the movie, the bar where the men meet, that is, the long poem is sung by the crowd. At the banquet, the red tableware and chopsticks were basically placed in the middle of the table, and the adults seemed to express their own views on the relationship between their parents. That long poem basically described the soldiers and soldiers going to the battlefield (corresponding to a 10-second bar scene mirror, corresponding to dead silence, eternity), the reluctance to sacrifice and the vicissitudes of life and the emotions of a husband and a daughter are extremely Similar, then, the man sang the cherry blossom children's song, just like after the war, the blood-stained cherry blossoms on the soldiers' heads began to bloom and fall.
"Is it Sakurai with lush green leaves, spend the evening there by chance, stay in a segment under the shade of a tree, contemplate the last moment of the world".
"As long as my former village can live happily in the future," the soldiers thought.
"As long as the children of the past can be happy in the future," the fathers thought.
Speaking of which, the father's anger lies in his daughter's betrayal, which is understandable. Betrayal lies in deliberately hiding his emotional state. But the daughter's rebuttal is very true, she has grown up, and she doesn't need to explain it clearly to her family. But in the eyes of his father, Ping Shan, his girl was still that ignorant baby, the jewel in his hand. The way the father punished his daughter was also so naive. He really thought that if the daughter made a mistake and locked her up for a few days, the daughter would humbly and sincerely admit her mistake. It's a pity that my daughter is about to get married. In his life, when he tried to discourage other families from watching their current love, he forgot that his daughter had grown up. Therefore, in the process of confrontation with his daughter, Hirayama is no longer just annoyed by his daughter's betrayal, but more of a denial of the passage of time. Therefore, this kind of emotion caused Hirayama to waver and be very ambiguous when answering the questions of Sasaki and his wife. Finally, at the end of the play, when he recited a nursery rhyme about cherry blossoms on the train, he finally understood that the dusk is for himself, and the cherry blossoms are for others, even if such cherry blossoms are nourished with his own blood, but, The fate of dusk and cherry blossoms is just that moment. The compromise and understanding of the father is the ending point of the film, that is, the complex emotions of Hirayama, which create the tone of the film "sad but not sad".
In the end, we still haven't seen the scene of marrying a girl in Ozu's movie. At the beginning of the movie, the plot of Hirayama attending other people's wedding was a little joke that Ozu made us. In fact, there was that unpleasant wedding. Hirayama is against marrying a daughter. He mistakenly thinks that marrying a daughter means the end of the father-daughter relationship. But as he finally understood, marrying a daughter is not the end of a relationship, but a new beginning and a redefinition of the relationship, but for what it is, you can probably refer to "Tokyo Story", which is neither good nor bad, but , The people are still there, the tatami is still there, the father who was slightly drunk after returning from the bar must be the father that Ozu loves to describe, that's right.
Now, here I am, but I have never seen such a stable and beautiful family as in the Ozu movie, a caring father, and a sky so blue that I have lost my understanding of consistency and eternity. Under the scouring of the world's pleasure, I got nothing. As a last resort, I returned to the world shaped by the movie, found Ozu, and found stability and tranquility.
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