Both Kurosawa Kiyoshi and Sonoko Wen are typical examples of anti-Ozu-style families and even branch-style families. They will not believe that conflicts will be resolved from within the family, but will only continue to be suppressed to form mountains of grievances, perhaps because of a certain external opportunity that erupts and tends to resolve, or more likely to move toward some kind of distorted and weird balance after resolution. .
If you want to say what kind of movie, "Tokyo Sonata" can't be reminiscent of "Tokyo Story", but it is so similar to "Kiko's Dining Table". But Yuan Ziwen is much more explicit and exaggerated. If he wants to show deformity, he wants to be absolutely deformed. For example, the place where people "escape" from their families is often "cults", and the "deconstruction" of families must be accompanied by primitive tribal violence or The seizure of sexual power. But Kiyoshi Kurosawa is not. He is the best at internalizing subtle horror and paradox into trivial and scattered daily life. The whirring of the wind before a storm, the rumbling roar of a tram suddenly passing by, and the speeding flashing lights are all the places where he often places paradoxically broken lines in ordinary family conversations.
For example, listening to news reports about the unemployed population, Kagawa fell asleep on the sofa and was pushed by his wife to wake him up like a ghost. The sound of the tram just happened to match the sound of the tram and the white light that flickered on his wife;
For example, the little girl who appeared behind Kagawa like a ghost at a friend's house and said, "It's really hard work" has a weird look and seems to penetrate everything;
After learning about the death of a friend's family who committed suicide with gas, they saw a strange old man and girl in black on the way back;
The wife made tempura for her husband at home and waited on the sofa until she fell asleep. The man went home and said that he was too tired to wash up and sleep. It is impossible for her not to know that her husband has gone to another room, but she still slowly closed her eyes and said, "Then let me go to sleep too, and pull me up." Then he stretched out his hand towards the empty space and stayed in the air for a long time. "Who is going to give me a hand?" She finally opened her eyes.
The dream of my wife. My son who was sent to the US military in Iraq suddenly came back and said blankly that I had killed a lot of people. She reached out to touch her son, who was sitting on a chair with his head bowed as if he had died silently without breathing. Then suddenly woke up on the sofa: where is the son.
The dismemberment of the family can be said to be caused by the foreign interloper, but in fact it is intermittent, arising from the pre-existing tendency of each individual to flee. The eldest son escapes the family by joining the army and defending the family in a high-sounding manner. The younger son longs to escape with the piano. The husband is ashamed to be in a family where he has actually established patriarchal and patriarchal domination through work and money status and is in jeopardy. In this family where they all get along like strangers, the mother longs to be rescued by an outsider.
Therefore, the intruding robber, Koji Koji, is just an opportunity. There is actually no Stockholm complex here, because Koizumi Kyoko's state is even strong and active in the end, and is called a god by the robber. The woman wants to wake up the man who was forced to "save herself", "take me away" and "everything becomes a new beginning" in her hut by the sea , she walked alone on the beach and collapsed in the sea water. Sure enough, there was no way to start over.
The husband who ran into his wife as a cleaner felt desperate in his life and wanted to start over, and was hit by a car in a drama. I was embarrassed there. If Kiyoshi Kurosawa would have let him die Not Kurosawa.
Sure enough, he got up from the roadside and went home the next day, his wife seemed to have never left home. The youngest son went home after a night of fright. He saw that his father was only dressed a little dirty, but said indifferently, "Dad is dressed so strangely." The three of them tacitly ate without saying a word. At breakfast, the news said that the Japanese soldiers sent to the battlefield would soon be returning home. At the end, the couple dressed neatly to watch their youngest son's music exam, and they seemed to be doing well. They left the scene together.
I don't think it's a warm, reconciled ending. Therefore, it can't be called hasty or hasty at all. If we want to create an atmosphere of warmth and reconciliation, how would we shoot this scene? The audience should give warm applause, parents should hug their children or say some chicken soup-type summaries or at least give a positive smile, and then the three should join hands Going out, or not so exaggerated intimacy, but at least it will not be like this with a large distance between the three people who are presented in a large panorama, and slowly walk away in the dead silence of all the audience. this space. This feeling of grooming and weirdness, which is definitely on purpose, is clearly pointing out that this superficial warmth and balanced family atmosphere is fake, the inner contradictions, the dissatisfaction, contradiction, prejudice and want in everyone's heart The feeling of escaping has never been dissipated, but has been concealed under the daily life that continues to operate. Maybe one day it will break out because of a certain opportunity, but more often it will be calm and continue to maintain this kind of tacit self-care life.
Divorce is actually "just two strangers living together living apart", which is also known to the youngest son in sixth grade.
I think Kurosawa's family is also a reference to Japanese society to a certain extent. The indifferent Japanese maintain a peaceful state on the surface and live without caring about each other in their hearts. This is reflected in the eldest son and the father arguing about the big family and the small family, the son always talking about the actions of the US and Japanese governments and the father emphasizing the importance of the small family.
What's more, the black screen after the end of the screen and the voice outside the Cast list are always chaotic footsteps of several people and a lot of people who seem to be packing things or something else, but the point is that the three people never have a conversation. In the end, whoever presses the piano to make a note, cannot hear the coherent flow of the second note, and the film comes to an abrupt end.
Sono Ziwen's family situation that arouses our curiosity because of the comical ups and downs is surreal, and it has the symbolic nature of a large number of symbols piled up. The family presented by Kiyoshi Kurosawa has to be close to our daily life countless times, and it is because of the reality that it is more cruel and terrifying. This story reminded me several times of the first story that happened in Onomichi written by Tomihiko Morimi in "Night Walk". In fact, it was a ghost story of a bizarre nature, but inexplicably had the same temperament as Kurosawa Kiyoshi.
. . . . . I'm so angry, I just wanted to take a note for myself, why did it take so long. . . If I have this time, I can come up with another one of my Kurosawa Kiyoshi Completion Plan【【【【【】
View more about Tokyo Sonata reviews
