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"Strange talk literature" originated in the Edo period in Japan, and is quite similar to ancient Chinese novels. Ueda Akicheng's "The Story of the Rain Moon" is regarded as a peak of this kind of literature, and most of them bear a strong historical imprint , reflecting the social atmosphere and cultural customs of the time. Japanese writer Yakumo Koizumi in the Meiji period, a collection of stories mixed with Japanese national culture and legends of gods and ghosts, is called "Japan's "Strange Tales from a Liaozhai". Kobayashi Masaki uses his unique lens language and atmosphere to select Four of these stories were made into a movie [Strange Talk], which established a monument of "Strange Talk Movie". At that time, "Strange Talk" was not only nominated for the Oscar for Best Foreign Language Film and the Palme d'Or at the 18th Cannes Film Festival, but also won the Special Jury Prize at that Cannes Film Festival. The reason why this film can gain unanimous recognition in the West has to start with the original author of the story. Koizumi Yakumo was originally from England, grew up in Europe, and traveled between major cities in the United States. He lived in Japan for many years, not only became fascinated by the local folk customs, but also joined the Japanese nationality. After years of being immersed in the various Japanese folk tales and national culture, he wrote Wei Tan, which made him the status of "the originator of modern Japanese geek literature". This work written by Yakumo Koizumi in English was deeply loved by readers after being translated into Japanese. They believed that his works contained rich Japanese national culture, and his routine of presenting oriental culture in Western ways also It was used in filming by Kobayashi Masaki - there are very few naked horror scenes in [Strange Talk]. With a well-adjusted lens and a well-designed set, Kobayashi Masaki let fear breed in people's hearts. Perhaps because of this reason, American audiences at that time were quite disdainful of [Strange Talk]. They said that they liked to watch [Brother Talk] more than [Strange Talk], which was widely praised by critics for its terrifying atmosphere and the excellent use of a single camera. Sla] (1954) fast-paced monster movies. [Strange Talk] Four bizarre and mysterious stories are used to piece together a picture scroll showing Japanese national culture. Some people think that the four stories in the film represent spring, summer, autumn and winter respectively. Stories with different styles are the endorsement of "the essence of weird talk". This kind of narration-driven plot, which is made up of absurd or supernatural short stories, has inspired many TV series that will be popular in the future, the most famous of which is "The Wonderful Story of the World". Kobayashi Masaki, who is good at realism, tries his best to find a balance between reality and fantasy even if he shoots such "ghost stories". He knows that a large part of the so-called "strange stories" are actually the amplification of negative emotions in ordinary people's hearts. , so he also aimed at ordinary people in the film, such as the down-and-out samurai and the weak woodcutter. The screenwriter of [Strange Talk] is Yoko Mizuki, who has long-term cooperation with famous directors such as Kanai Masao and Naruse Mikio. She believes that the theme of the film is man's love and hatred for nature. The principle of retribution for evil will be rewarded." Judging by the current standards, [Strange Talk] is not the kind of film that terrifies people, but it is still frightening, and this fear does not come from any external sensory stimulation, but from the viewer's own perception of it. Unknown and relentless fear. The thriller [Black Hair] from the inside out is like a poignant love tragedy. The main body of the film is always the samurai. The audience witnesses his joy when he first entered a wealthy family and his anxiety when he remembers his abandoned ex-wife. Halfway through, the samurai returned to the former residence, only to be pleasantly surprised to find that his wife was still sitting in the same place sewing and doing work, everything was the same as when he left, but when he woke up the next morning, his wife turned into a bone... This is about betrayal The story makes people shudder, different from the Western world's view of redemption, there is no second chance in [black hair], what is lost is irreparable, if the nature that Yoko Mizuki refers to covers those ghosts, then the samurai's The end confirmed the argument that "good and evil will be rewarded in the end". Yuki is a well-known monster in Japanese legends, and the legends about Yuki are also different. In [Snow Girl], a man who got lost in the ice and snow was attacked by Snow Girl, and he saved his life from Snow Girl on the condition of "not mentioning today's events to anyone". Many years have passed, and men have married and had children, and lived happily ever after. One day, he told his beloved wife about what happened on that day, and the clinker wife suddenly transformed - it turned out that his wife was a snow girl, in order to "supervise" whether he kept his word. This story that sounds a little ridiculous, but it reflects the importance of people's commitment to promises in the old days and the fear of "retribution" after breaking their promises. It is not so much a scary ghost story that it is more about the object people fear. visualized. In [Snow Girl], it is precisely because of his trust in his wife that the man will tell her the secret, but the snow girl thinks it is a betrayal of himself. What is interesting is that this kind of merciless punishment to the "defaulter" It also appeared in Greek mythology. The tragic musical wizard Orpheus also broke his promise to Hades because he cared deeply for his wife, but lost his wife forever. However, the ending of [Xue Nv] showed a little warmth again: Xue Nv let the man live, and took the straw sandals that he knitted for himself with his own hands. [Wuerfangyi]'s background "Yuanpinghe War" has a solid mass base It is said that there was once a story about the prosperity and demise of the Heike called Heike Monogatari and it was widely circulated for a time, but the author and the year of its creation are unknown. The story was circulated among the people in the form of "rap" accompanied by pipa. It was in this form that Masaki Kobayashi presented the "Battle of Tannoura" in the movie. This heroic battle gave birth to countless undead, and these undead often lingered. In the cemetery of the Hei clan, they admired the blind monk Fangichi's qin skills and invited him to perform for Emperor Anto of the Hei clan. In the movie, there is a section of chanting incantations with a strong sense of ritual, which is presided over by the temple played by Shimura Joe, which is similar to the "exorcism ceremony" in [The Exorcist]. However, due to negligence, the host did not write scriptures on Fangyi's ears, which eventually indirectly caused Fangyi to lose both ears. In the end, Yoshiichi, who has always been humble to the undead, took this adventure to rise to the top, which is also a reflection of Yoko Mizuki's point of view. Different from the first three stories that focus on "grievance", the last one [in the tea bowl] stands out for a "birthday", the scene of "the figure in the bowl" is already creepy enough, plus the unfinished The story makes it even harder to tell the truth. At the end of [In the Tea Bowl], the camera shows the author's eerie smile in the water tank, which is the end of the unfinished novel, and the film finally sets the focus on the overturned tea bowl, which is also for the Objects that can be seen everywhere on weekdays are covered with a touch of mysticism. Fear of wearing a brocade costume, Kobayashi Masaki's use of many shots in "Strange Talk" has created a precedent for future horror films, expanding the audience's imagination space in the way of "still holding a pipa half-covered", such as turning back to the camera. The "gazing shot" where the target is slowly advancing is like a gradually enlarged sense of fear. Kobayashi Masaki's "gazing object" rarely turns around suddenly to startle the audience, but it still plays a captivating role. People believe that ghosts are formed by the accumulation of hostility, and the bitterness and resentment they suffered during their lifetime will strengthen the power of ghosts. The wife in [Black Hair] is a typical example of death with hatred. After the samurai saw his wife turned into a bone, the movie also became tense. With the sound effects like the screams of ghosts and the repeated tilted shots, the complexion of the samurai changed from the initial spring light to white as snow, and even after the next In the footage that goes down, it continues to decay, until the hair is sparse and the face is haggard, like an old man in his nineties. The combination of sound and picture and the weird wriggling of the long black hair, this part of [black hair] becomes One of the few horror moments in [Strange Talk]. The surreal setting is also a highlight of [Strange Talk]. The beautiful use of colors in [Snow Girl] is breathtaking, and Kobayashi Masaki uses a surreal sky set It hints at the changeable heart of the Snow Maiden. For example, behind the icy and snowy woods in winter, there is a terrifying eyeball hanging in the sky. At this time, the Snow Maiden first appeared, mercilessly sucking the spirit of the lost, and in the warm spring In the summer, the red lips of a woman hang in the sky, and it is at this time that the snow girl incarnates as a mortal and meets the male protagonist. When it comes to the scene where the man tells the secret to Snow Maiden, the camera first focuses on Snow Maiden's back like in [Black Hair], and then shoots upside down to highlight Snow Maiden's gloomy profile, and the light changes from soft to full of yin. As the uncontrollable anger of the snow girl broke out, the outside of the house was suddenly cold and snowy. The "Battle of Tanzhipu" in [Wuerfangyi] also unfolds in a gorgeous background. The oil painting-like sky seems to be mixed with blood lights, which visually conveys the blood of this battle. The taste spread, and this war scene was presented in the form of static paintings and dynamic fighting, accompanied by pipa playing and singing, revealing a strong Japanese flavor. The scene switching in the cemetery also reflects the director's excellent choreography. The real ghosts in Fangichi's fantasy and the fireballs flying in the real world blur the boundary between reality and fantasy, which is exquisite. The image of the snow girl with white clothes and black hair has now become a classic symbol in horror films. The Japanese horror image that appeared in [The Cabin in the Woods], a tribute to horror films, is a female ghost in white clothes and black hair, which shows its influence. However, compared to those horror movies that rely on visual thrillers to "scare" the audience, [Strange Talk] and the "Strange Talk Movies" it represents release a longer-lasting sense of fear, and are more in line with people's perception of "high-quality fear" expectations. After all, the fear of a certain image is far less profound than the fear of a certain concept, just as in [Midnight Bell], the most frightening people are not Sadako, but those who call in the middle of the night. telephone. Published in the April 2014 issue of "Watching Movies Midnight" The bloody smell of this battle was spread, and this war scene was presented in the form of static paintings and dynamic fighting, accompanied by pipa playing and singing, revealing a strong Japanese flavor. The scene switching in the cemetery also reflects the director's excellent choreography. The real ghosts in Fangichi's fantasy and the fireballs flying in the real world blur the boundary between reality and fantasy, which is exquisite. The image of the snow girl with white clothes and black hair has now become a classic symbol in horror films. The Japanese horror image that appeared in [The Cabin in the Woods], a tribute to horror films, is a female ghost in white clothes and black hair, which shows its influence. However, compared to those horror movies that rely on visual thrillers to "scare" the audience, [Strange Talk] and the "Strange Talk Movies" it represents release a longer-lasting sense of fear, and are more in line with people's perception of "high-quality fear" expectations. After all, the fear of a certain image is far less profound than the fear of a certain concept, just as in [Midnight Bell], the most frightening people are not Sadako, but those who call in the middle of the night. telephone. Published in the April 2014 issue of "Watching Movies Midnight" The bloody smell of this battle was spread, and this war scene was presented in the form of static paintings and dynamic fighting, accompanied by pipa playing and singing, revealing a strong Japanese flavor. The scene switching in the cemetery also reflects the director's excellent choreography. The real ghosts in Fangichi's fantasy and the fireballs flying in the real world blur the boundary between reality and fantasy, which is exquisite. The image of the snow girl with white clothes and black hair has now become a classic symbol in horror films. The Japanese horror image that appeared in [The Cabin in the Woods], a tribute to horror films, is a female ghost in white clothes and black hair, which shows its influence. However, compared to those horror movies that rely on visual thrillers to "scare" the audience, [Strange Talk] and the "Strange Talk Movies" it represents release a longer-lasting sense of fear, and are more in line with people's perception of "high-quality fear" expectations. After all, the fear of a certain image is far less profound than the fear of a certain concept, just as in [Midnight Bell], the most frightening people are not Sadako, but those who call in the middle of the night. telephone. Published in the April 2014 issue of "Watching Movies Midnight"
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