If anyone sees it, I also need to apologize for my subjective attitude as a fan and in the form of notes below.
In the first half of the process, I always thought it was his reflection on the war, for example (in addition: the layout of the entire film in the hot weather should be an allusion to the atmosphere of Japan's postwar reconstruction and reconstruction at that time)
in the first note. The character is a female thief. She was stalked by the protagonist until she couldn't stand it and finally willing to give clues and said: "I haven't seen a star for 20 years." Then, going back from about 49 years from the shooting time at that time is the date when Japan entered a total war. Can it be understood as the attitude of Japanese women towards war?
The team leader's words "unfortunately can train people and destroy people"
then directly pointed to the attitude towards war after the war. The protagonist always believed that the perpetrator (Japanese criminal status) was caused by his own negligence (the attitude of the people before the war), but After the protagonist lost his gun and resigned, he first denied his resignation letter that was too self-blame and shredded it, and then said something like this, and hoped that the protagonist would
appear
in the interrogation room and treat the female gun dealer kindly on behalf of him. The tolerant attitude towards accomplices/accomplices (perhaps directly referring to the female characters during the war)
, then the confession to the protagonist: "Browning can be used without a ruler" (a sharp point of view that criminals will always lead to crimes based on their own character, of course there are also The meaning of comforting the protagonist. But can this sentence be understood as the director believes that the war will break out without the negligence of the people at that time? From a historical point of view, it is very likely)
Afterwards, the protagonist repented again at the stadium, and even had a sense of responsibility for the criminal, believing that if he hadn't lost his gun, he would not have led the criminal to commit a crime. The inspector believes: "It is better to guard against the future than to care about the past." I don't think there is any need for further interpretation, the meaning is obvious. Afterwards, he said: "His 40,000 yuan will be used up soon. Once Huaguang, he will do it again, and it will be more fierce. Wild dogs will become mad dogs, and that's not wrong." Japan's lack of resources, first invaded Manchuria, followed by a full-scale invasion of China, and then Pearl Harbor. At the same time, he also pointed out that Japan has always been on the edge of Asian culture and has become a family of its own. Is it replaced by wild dogs?
At the same time I have a question here, I think the baseball game here, the constant substitution of players and the cleanly dressed audience represents the overall atmosphere of Japan after the war or the atmosphere that the director hoped.
After that, the detective and the protagonist went to the suspect's house to visit and investigate. The suspect's mother believed that the suspect was a kind and gentle but cowardly man who was only influenced by bad friends after returning from the army. So can this be understood as the concept that Japan left Asia and joined Europe after the Meiji Restoration after years of war? At the same time, he expressed doubts about his father's appearance and attitude.
The note that appeared in the disgusting room deepened my interpretation of my mother:
"I can't sleep, I seem to hear the abandoned cat meowing in the rain, it follows me in the rain, rather than suffering and dying, I think it is better to kill it She, I still have the feeling of trampling it on my feet. I'm cowardly, just like that cat. Anyway..."
I'm here to think of the cat's place on the fringes of Asia before abandoning it to Japan, while alluding to its traditional culture. This criminal is the government of Japan's Meiji Restoration, preferring to abandon the fragile traditional culture and fully Westernize.
Please see the victim detailed by the detective before, a woman whose fiancé joined the army for more than ten years was shot and wounded and robbed of her marriage savings of more than 40,000. At first, I understood that this woman was alluding to the current situation in China at that time, but later on, I thought that what the criminal killed was the political and wealth savings of Japan's stable political situation for many years before the reform.
The veteran soldier serving in the tavern, the suspect's friend, is tired, and I will add it next time, but its character setting is also a satire of the current situation at that time
Mistress, dancer. During the interrogation during the performance, he cried and said, "I didn't do anything bad again." At the same time, it showed that the attitude towards the suspect can also be understood as the innocent identity of Japanese women. This character also took notes and analyzed that the
detective brought the protagonist home for dinner. After pushing the door, the detective's wife whispered to him that there was nothing to eat at home, only pumpkins (the resources were scarce after the war, and even the detective's home was not available. There were three in the family. child, or maybe the child has finished eating). One of the director's shots here is beautiful, the wooden horse toy swaying on the table, and then it switches to beer. I don't understand the movie, so I can't fully understand the meaning.
After that, the dialogue between the two protagonists was very exciting. I will not interpret it (it is relatively simple), and I will copy it here:
Detective: This is a rotten house, but the suspect's is worse, not a human. Carrion will give birth to maggots
Protagonist: There are no bad people in the world, only bad environment. If you are annoying, you are actually pitiful
for the detective: You should not think like this as a police detective. If you are too invested, you will have this illusion. Don’t forget that one wolf can hurt many sheep. When a policeman has the idea of killing one and protecting one hundred, psychoanalysis is for novelists. I will only hate their
protagonists: I don't think so, I have seen war make people turn into beast
detectives: are we different in age or times, what is the saying?
Protagonist: Post-war faction
Detective: Yes, you are post-war faction, the suspect may be, you understand the suspect too
well Become a robber, but become a police
inspector at that turning point : So. . . You belong there. . .
Protagonist: Post-war
Inspector: Yes, but there are also two types: you and the suspect. You belong to the orthodox faction, and the suspect is only a post-war leper, no, a post-war turtle.
Before the protagonist leaves, the detective shows the protagonist that the three children are sleeping on the tatami in a mess, and he only says, "I want a pumpkin field." It is interesting to connect with the previous pumpkin, which should be an allusion to the hope of Japan after the war, although Only pumpkin, but green and healthy.
After that, the suspect committed another crime and killed a rich man during the robbery. The neighbors said that they were all famous and rich people around. Can it be understood that the suspect's crime was the rise of militarism after the Meiji Restoration (alluding to the political situation during the 226 Incident)? The family doctor arranged here, the husband who later plucked the tomatoes, and the rotten tomatoes on the ground are very interesting, and I will interpret them in depth later.
The conversation between the detective and the protagonist at the train window is very interesting . The
detective: Murderers are like mad dogs. Do you know the law of mad dogs' actions? If there is a poem, the mad dog will rush forward and will not retreat, and the suspect will only rush forward. He only has a mistress in his eyes, and he will definitely go to Zhao her.
I think this setting is very ingenious. The continuous moving train alludes to the forward route of Westernization. The mistress is the desire of the senses, and it alludes to other superficial needs such as resources.
After that, the detective went to his mistress's house, but the mistress refused to explain. The detective said something funny before he left: "Mother is the best interrogator" haha. But the sheriff deftly straightened the toy on the stair rail before going downstairs, a detail I can't
understand In the process, the
mistress took out the pajamas sent by the suspect, but the protagonist asked why he didn't wear them, indicating that he was still suspicious of the suspect's attitude (because the expensive pajamas and their occupation at the time indicated that their ability was not enough to buy), but in the The protagonist put it on under the questioning of the protagonist. Here, the director arranged a shower when he wore it and danced, which was very clever. Later, the mother took off her pajamas and was still at the window, and the mistress completely repented.
This insinuation should not be difficult to understand if the pajamas are here taken as the national pride and other false satisfactions that came with the war, and the mother as the fundamental expression of the national conscience after the war.
The suspect wounded a third time, hitting the inspector. Can it be understood that during the war, the mad dog (militarism) injured the national conscience (but only seriously)
when the protagonist went to the hospital to visit and blame himself again. Crazy grab the door, unwilling to give up hope.
The mistress also visited the hospital later, explaining the suspect's second date and providing clues. Can it be understood as a complete and thorough repentance, no longer subjectively standing on the side of sin, and complete repentance after the war?
The following fight between the protagonist and the suspect reminded me of how the director added his own experience:
My still surviving memory of the director's autobiography believes that the piano sound that accompanies the fight implies that the director was still relatively stable during the war. Life experience (he did not participate in the war due to his health etc.)
the suspect hit the protagonist's arm (alluding to war/disaster [brother committed suicide due to losing his job and the impact on Singh at the time] and took away the director's brother, family or He himself lost an important member? At the same time, the director kept pointing out that his brother was constantly helping him, navigating and inspiring him during his teenage years. Moreover, his brother's film and television accomplishments were far more advanced than the director himself, so he could also think that he lost his life here. The elder brother is also equivalent to losing the most important part.)
The protagonist finally fights with the suspect in the grass, perhaps alluding to the director's constant reflection and struggle from the war after losing his elder brother, trying to find himself (the director's autobiography Reflections and Criticisms of War and War Periods)
Later the children's singing, the suspect lying in the grass weeping. It's more interesting, so I won't talk about the
final dialogue here. The detective said: "If you catch more, you won't be sad. Remember the sin, and more people will be injured, but forget the suspect.
" Overall, sin is always there, and you should remember this root, not a single criminal or form, and encourage yourself with it. Overall, it reveals the director's romantic character.
At the same time, there are also some characters, such as the old man in the apartment and the hotel owner who made the last call, are also very interesting character settings, too tired to add them next time.
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After writing these, two thoughts: 1. It's shameful that I didn't take good notes when watching movies before. 2 It's really tiring to write a fucking review. An episode in the
ps movie The beautiful Solo River sung by Toshi Matsuda before the war is very interesting to insert in the movie
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