Akira Kurosawa is a master, and Masaki Kobayashi is a more powerful master than the master; seeing "Rashomon" is purely admiring its reputation and going away, seeing it and saying "it's really good", but not seeing Masaki Kobayashi's "cut belly" "And the amazing feeling after "Death Sword". You are not amazed at his innovation and technology, because all the applications of imaging technology are so mature that you cannot detect any intentionality. The story, spirit and tragicness in the shifting light and shadow attract your attention. Such as items, they come and go when they are called, and they are not even comparable to those on the Internet, and they do not even have a price. In a male society, the only way to decide victory and defeat is to rely on power and position. How can a commoner husband compete with a feudal monarch, and fight for the life of the whole family to win the dignity in his heart.
I have watched this film for more than half a year, and the scene is vivid in my mind. It is ranked as the best Japanese film I have ever seen along with "Cut the Belly", no one. In addition to the awesome director, there is also the screenwriter, who? Who else could it be? Hashimoto Shinobu! He is included in the screenwriter of "Rashomon", he is also included in the screenwriter of "Desire of Life", and he is included in Kobayashi Masaki's "Cut the Belly" and "The Sword of Death". I don't know if it's Kobayashi's style or Hashimoto's style. The two dramas they collaborated on are very "forbearing" in performance. Just like the name of Hashimoto, all the turbulent waves are covered with calm yarn at the beginning, as if you can see The undercurrent surging yarn undulates with it, until the waves hit a certain level and break everything and erupt. There is no heroism in Hashimoto's play. Every hero is unwilling to fall down and bid farewell to the times in a failed way. It seems that an irreversible trend, the inevitable final death of classic heroes in the age of guns.
The two scenes in "The Sword of Death" are the most moving. Wulang and Yingqi, you have been praying to Wulang not to abandon Yingqi, but he really doesn't exist. You can't help but envy Yingqi. How lucky is Yingqi to be able to meet such a reasonable and understanding husband in the second marriage. Don't give up, don't give up, really die. "How beautiful, when you grow up to be a woman like your mother, marry a man like your father", a sentence that expresses the eternal lingering love between the two.
The second paragraph is Asano and Isaburo. If you like to watch Jin Yong Gulong, you may be able to appreciate the sympathy between these two people. I am ashamed that the Chinese martial arts are actually confirmed in Japanese movies. Both are top-notch samurai, both of them are proud from their bones. Naturally, Asano cannot be the dogleg of the feudal lord to kill Isaburo, nor can he release the country's fugitives on the frontier guarded by himself. For, for and for not doing, we adhere to a "Tao". Before raising their knives to face each other, the two sat side by side to feed their grandson, chatting and laughing freely
. Japanese movies always have a place in my favorite movies.
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