I've always believed with certainty that I don't like warm things. Also disliked is the love expressed in the movie. This is very strange, probably because it is not like a girl's preference. I'm also accustomed to detaching myself when watching a movie, and focusing instead on the screenwriter's ability to tell a story, the director's way of controlling the camera, the actor's performance, the camera, and the art.
Although I can accept any kind of film, generally speaking, there are still two kinds of films that deeply fascinate me. The first is to focus on the theme and focus on the rich and wide-ranging imagination, such as Fellini, David Lynch, Kubrick, Kitano, Takeshi, and Park Chan-wook. The second is that the narrative is gentle, the images are beautiful, the thoughts are gloomy, and the inner strength is deep, such as in Tarkovsky, Yasujiro Ozu, and Mamoru Oshii. Generally speaking, the second level is higher. If you can make it outstanding, you will undoubtedly be a master.
mixed up a lot of this. In fact, what I want to say is that the story of [Twilight Kiyobei] is quite common, but I just shed tears for it. Even though I was still watching and analyzing the way it was shot, even though it was talking about the love of a lower-level samurai, I couldn't help but cry. This film is like Iguchi: gentle, gentle, and devoid of desire. Such a person is not suitable to be a samurai who is in the company of swords all day long, but rather should go to the fields to farm. He was always pushed to the edge of a wave, whether on purpose or unintentionally. Although he tried to live a low-key life, he still couldn't escape the fate of being a big tree and attracting wind.
Before being forced to execute Yu Wushan Uemon, Pengjiang meticulously groomed him. Yoji Yamada handled this part very well. Just shoot their backs. How much forbearance and reluctance were all digested by the dim light? Their parting words, no background music, no struggling tears, no lingering body movements. Wellhead slowly talked about the scene of his childhood, as if everything was within reach, and then his eyes heated up and said, "If I come to propose marriage, will you accept it?"
Pengjiang's eyes darkened and his expression turned, telling him that he had promised someone else's marriage. Still no tears, no sensational depression. At that time, I suddenly thought of some things in love that are always difficult to balance. Missing, attachment, inexplicable pain, and grief. So much so that I believe that anyone who has loved and missed it will inevitably cry when watching this part.
When I saw the reunion of two people, I gradually understood that there is no one in this world who can truly resist the warmth. The only difference is that I can't accept the so-called peace of mind that is full of ingenuity and ingenuity. The love of love is often caught by the slow and slow flow of the water, and it is impossible to avoid it. The 71-year-old Yamada Yoji has a good sense of camera and a slow narrative style. A director, or just an ordinary person, once he reaches such an age, will lose his scorn and impetuousness. He accumulates the only emotions he has, not to burst out but to use a calm and unhurried tone and tell the audience peacefully as if they were acquaintances.
The reason why I like this kind of movie is entirely because to make this type of movie needs a certain amount of confidence. Calm, steady, and useless. It's not an elaboration for the sake of elaboration, nor is it thinking about winning an award, fleeing Asia for the rest of the world, or something.Even if the old man's heart is still water, he is clearly moved for what, even with a little urgent trembling, the appeal can also be amazing.
So peace suddenly became strength. Like the final fate of the wellhead. Swordsmanship is always used to kill people. A person in a dull mood is afraid of not using the sword, but Iguchi still firmly shoots. because there is some kind of power behind him that he has not even noticed. The lightness and gentleness refined from life and nature are condensed in the blade.
and the performance of the actors. Sanada Hiroyuki's sloppy appearance couldn't hide the look in his eyes at all. bearded, stubborn lips. He clearly loves someone like that, but he is patiently restrained because of the disparity in status and identity. In the end, it was time to leave, and the man who was immersed in his memories had a fascinated expression on his face.
It is such a man who is full of femininity and surrounded by various emotions. His love for his elderly mother and his young daughter flowed so slowly that it was almost invisible, and it was so heavy that it was almost suffocating. In the eyes of Sanada Hiroyuki, there were so many affections that he wanted to talk about, but he was suppressed by himself, and he lived on it as a habit.
I don't like Rie Miyazawa, and I continue to dislike her in this movie. Originally, she could be more rounded, but I still feel that Pengjiang is more deliberate. When she rushed out and finally hugged the wellhead and cried bitterly, it was a little unnatural. I also don't like the narration format. The story is expressed completely, but it cuts the overall beauty. A movie that could have been perfect, but in the end, there are still more shortcomings than I think there should be. It's just that the seriousness and conscientiousness of the Japanese in their treatment of movies is what we lack the most right now.
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