Tsukamoto Shinya not only played the ancestor of the Iron Man, but also did not let go of any iron-blooded man who expressed that he really had lofty ideals. He waved his arm and pointed to the sky:
Let's turn this world into a pile of scrap metal!
We can end the world with love!
This is the end of the film. I wonder what kind of world he wants to end?
The fact is, even without the director's action, the world is already like "a pile of scrap metal" in his eyes. The coarse-grained black-and-white images, the shaky footage, and the quick screen transitions in the film all herald this terrifying world. Ruins, factories, rumbling music, pupils dilated due to fear, blood stains suddenly sprayed in front of the camera, chasing, dead ends, deformation. Where's the good stuff?
The most beautiful thing in the film can be said to be the bloody sex between the male lead and his wife at home, which is also the last normal sex of the male lead before his transformation. Part of his body began to deform, and he seemed to have foreseen all of this, and tried his best to enjoy his wife's body, until even his wife's teasing made a shrill metallic sound, which was agitated.
The penis is the first to be completely transformed, which is not at all unexpected. The male number one's penis turned into a fast-spinning awl, and his wife changed from pity to terror to resistance. Finally, she fell in love with this steel penis in a trance, until the iron awl twisted her from the bottom to the ground.
The first thirty minutes of the film, which ends with the death of his wife, are also the most exciting part of the film. The themes of violence, sex, fear, noise, and death have come to the fore. When Tsukamoto Shinya officially appeared, it was just the second half of the story moving forward.
If the first half of the film left us with many mysteries, such as the woman who transformed into the subway, the man sleeping in the metal pile, the intercourse in the wild, etc., then the explanation for all the mysteries in the second half turned out to be just a car accident. revenge. The male No. 1 and his wife killed the male No. 2 played by Shinya Tsukamoto by car, and drove the dying wounded to the field, while the wife ignited desire under the gaze of dying eyes, and the male No. 1 rained in the wild. . And the injured man mutated into Iron Man under strange emotions to take revenge.
The cause seems a little pediatric, but it is worth scrutinizing.
The vehicle used by the perpetrator was a car. This seems to be linked to the ability of man to become metal and absorb other metals and have the ability to corrode the world. That's why, at the end of the film, Iron Man and Male One finally merge into one rather than kill him. It is not the specific person that Iron Man wants to take revenge on, but the world.
Iron Man is changing into the exchange he witnessed before. The male number one's penis was deformed, and in the final duel, the penis turned into a huge spinning metal, which became a deadly weapon. In Shinya Tsukamoto's films, the male penis is not just a tool for making love, but is expanded to a life-or-death killer - just having a body of steel is not enough, an invincible penis is the most important thing.
The last thing left to deform is the brain. What Iron Man has repeatedly emphasized is that as long as the male lead's brain turns into metal, he is completely alienated. This seems to be the last inch of land reserved for humanity, but it is undoubtedly weakened in the film.
Woman as a tool. The strange woman who was innocently involved in the incident in the subway became the first victim to be sacrificed. She was just a tool, completing the prelude to transformation in the pursuit of the male lead. And Yu Fujiwarakyo (I have to say that this woman, in addition to the actors, also played the roles of makeup, photography and other roles in the second film, and also appeared in another little-known film by Tsukamoto, and this film impressed me the most The wife played by this woman definitely adds a lot of color to the film, then her dark lower eyelids, like half dead hair, are struggling in love, even if the male lead is nostalgic for her in every possible way, it is only in the Ended his life in fear and desire for metal. Women in "Iron Man 1" are just a side dish to polish, and it is men who complete the great cause.
This film made Tsukamoto Shin also a new star in the cult world. Three years later, Tsukamoto continued to shoot "Iron Man 2: Flesh and Blood", but the masculinity and industrial aesthetics in the first film were difficult to imitate. The film was put on hold for more than ten years, and it was not until 2009 that Tsukamoto launched "Iron Man 3: Bullet Man", which was more American in both form and content. It remains to be seen whether this is just an "internationalization" ingratiating.
ephemeral
2009/09/25
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