So when I heard that Ken Sato, who just turned 23, was going to play the role of Kenshin, I couldn't help worrying that he couldn't understand the depth of the work, let alone the interpretation.
Later, more casts were made public, and the first trailer was released. Takei Laugh's shitty hairstyle, excellent two-pointed eyebrows, Aoki's lofty and silly big image, and Yamaxian Yuto's sly eyes and his friendly eyebrows, all of which made me pound my chest until See the final release trailer. The fight scene was very fast, and the classic scenes of the original work also appeared, which made me look forward to the movie when I walked into the cinema.
On my way home after watching it tonight, my friends commented on the actors and music, but I felt that I was different from what they thought. Because in fact, I didn't go to the movies, I went to see Kenshin. And Sato Ken performed some of the feelings of Kenshin, I am satisfied. Therefore, people who just like Kenshin can definitely accept this movie, but for those who are persistent in the original work, I am afraid that the adaptation of the script will not be tolerated. Here I can't help but pay tribute to Nobuhiro Hezuki again. With the adapted script as a reference, the beauty of the original plot is self-evident. Remember to write down some specific thoughts below.
1 The first battle of the opening chapter, the battle of Fushimi Toba, where the shogunate forces completely collapsed. Jian Xin said sadly amid the cheers of the victory of the Falling Curtain faction, is this finally over? Then he staggered away from the sword in front of Saito. At this time, Sato Takeru's acting skills completely showed Kenshin's determination at the end of the reminiscence chapter. Distressed, burst into tears on the spot.
2 Yosuke Eguchi's Saito is a bit ruffian, and he doesn't have the feeling of fear in his smiling face, but his stubborn character and understanding of the sword are very consistent with the original work, and the tooth protrusion is also a perfect interpretation, although only once.
3 Blade guards brought watery beauty contact lenses to radiate sword energy, but the actors themselves are too kind, and they will never be terrified when they appear on the camera with their full faces. The police station beheading scene is quite scary, thanks to the lack of close-up of the face. PS Blade Guard's moves have borrowed a lot from the moves of the swordsmen in the recollection chapter~
4 Kagawa Teruzhi's role as the villain is to rest assured, just watch the show. The place where Guanliu lives is very restored, and a large green lawn is given.
5 Excellent Gao Hehui, how can I say it? It's not the patent of Youjiang to send Qiubo discharge hooks or something, so Gao Hehui's coquettishness is not in place. It's cold, but it's too unglamorous. Feel. In the tear-jerking section of revealing her life experience with Kenshin, the excellent version of Gao Hehui is like a bitter insect girl. PS Youjiang was flattened TOT this time. . .
6 Yahiko is not noisy enough and has empty eyes. It is said to be the debut of a young actor. Sanjo swallow even appeared - Yahiko called her name, faceless shot.
7 The Aoki Sublime version of Zuo Nosuke is a surprise. Zuo Nosuke's rashness and super power are very vivid. The most exciting part is the first fight with Kenshin outside Amyu's store. Dramatic conflict; the most enjoyable part is Guanliu Mansion's duel, and the punches are American-style; the fly in the ointment is the development of friendship with Kenshin. After the first fight, he directly rushed into the dojo with the patient in his arms, looking like a neighbor next door. In general, the acting skills are excellent. I have only seen Aoki Takao in "Japanese that the Japanese don't know" as a naughty teacher, but in this film he is Zuo Nosuke, the slightly fat version.
8 Takei Sho was probably the worst performer. Except for the lines about Kamiya's living heart, her performance did not have the slightest trace of A Xun, and even her hairstyle and kimono did not have the slightest similarity. The swordsmanship of the original book A Xun is very good, but it is only because of the masters like Kenshin and Zuanosuke that he looks like a three-legged cat. Takei Xiao plays like a swordsman layman. In the original A Xun, when he encountered the riots related to the drawing of the sword, he was conscious of death, but Takei acted like he was about to cry at any time, and the feeling of a helpless girl's feet was clichéd and strong. As the owner of the Kamiya Dojo in the original novel, Axun is the center of the relationship between the characters, but the Takei version of Axun seems to be a stranger to everyone. There is no bickering with Yahiko Zuanosuke, even with Kenshin, not to mention the call, tacit understanding. No TOT!
Originally, I didn't want to play the adult Ah Xun who supported Jian Xin's life, but the girl Ah Xun who I just met should be barely able to do it. As a result... I had to secretly rejoice that the goddess in my heart can't be played by anyone.
9 Finally, Kenshin, Kenshin of Sato Ken.
In the few period dramas I have seen, the fighting scenes of the samurai seem clumsy. This is the first time I have seen such a dazzling and difficult Japanese-style fighting scene. The director respects the original work and restores the speed of Kenshin, which is fast and refreshing - there is no slow motion like in "Heroes", but there is a scene where Ling Bo Weibu is possessed. I think it would be nice if the director could show more beautiful swordsmanship, but if we do more, we would say it's being handsome, so that's fine. Perhaps the experience of Ryoma Chuan has taught him a lot. Sato Takeru's swordsman tone is very strong, especially his running posture is very similar to Kenshin in the original work, and he admires the diligence of the actors. The only fly in the ointment is that the quality of the wig is too poor, and the hair behind the head is always knotted.
In the photography of the fight, the director used the first-person lens many times to let the audience see the sword, light, sword and shadow that Jianxin himself saw in the battle, which was very impressive.
There are not many scenes of Kenshin being cute, but Sato Ken didn't miss any chance. When I met Ah Xun for the first time, I ate dumplings to be cute, I was locked up in the police station and jailed for leaking rain, and I played cute Liu Dagui pretending to surrender...
In addition, this film almost always abused Kenshin, including the assassination of Qingli in the reminiscence chapter. The bridge section, and then the back of Aba. Kenshin's conscience condemnation of the murderer was very strong in the original work before he met Aba, and the assassination of Kiyosato was only one of the materials for condemning himself. But he chose to believe that a new era would come after the sacrifice, so he did not hesitate to execute the killing. Later, when he met Aba and killed Aba by mistake, his pain turned into the pain of absolute love and the burden of the dark side of the new era. Still Kenshin.
However, in this film, because there is no way to explain the ins and outs of Aba, she was reduced to a back image of a corpse crying (an impossible move in terms of the character of the original Aba), this back and the scar that Kiyosato gave to Jianxin became Jianxin A conscientious endorsement. At this time, the deepening of Jianxin's pain in the original work (from the individual to the era) disappeared, and the level of pain disappeared. At the beginning of the book, Jianxin's walking dead figure appeared contrived. It seems that Kenshin has become a person who is tortured by his own moral standards in the turbulent times, and is only a fragile person. The conclusion is that understanding Kenshin cannot be separated from the plot of the reminiscence chapter, but the film is too small and must be abandoned and changed, resulting in a significant reduction in the connotation of the original. The arrangement of the movie is to take care of the viewers, abandoning the fans of the original work (only fans know about the abuse of the reminiscence chapter) and rushing to TOT alone in tears...
Regarding the plot setting, the incident of the one of the heart was put at the end, which should have been the finale. However, the detailed description of the rescue of Gao Hahui before made the audience and Kenshin tired from watching, tired of playing, and need to arrange plots to rest. However, the screenwriter did not give Jian Xin a chance to fight the old ghost blade guard directly. As a result, the most critical and most critical scene that best reflects the bond between A Xun and Jian Xin did not reach the height of the whole story. There is sublimation, and the play is more than enough.
When Saito faced the staggering Kenshin again and questioned the life he had chosen, Kenshin firmly said that he would fight with a reverse-edged sword, which echoed the opening well. Only this time he was holding Ah Xun in his hand.
The film ends with the classic lines "Kim Shin, welcome home" and "Well, I'm back", and the five sisters finally found a trace of Ah Xun in the last shot, but it was too late. Sato Ken is particularly exciting in the first stage, but unfortunately he did not leave a room for improvement in the latter stage. ps Sato Takeru's voice is much better than in the trailer. After all, there is the real god of cool wind in front of him, so the post-production must be done with care.
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Bigu Qingjuro, Katsura Kogoro, Shedaiba, Kamiya Kaoru, these people who have an important influence on Kenshin's life are all people with deep pasts. If the remake of Kenshin's works is to achieve a certain ideological connotation, the shaping of the above-mentioned characters cannot be ignored, but this is difficult because many clues are intertwined. Therefore, fans of the original novel can't take the remake seriously, that's just adding to the pain.
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