No matter how terrible his current situation is, as a member of the samurai class, it is unforgivable to force help with the threat of cutting the abdomen.
――――The self-realization of the protagonist Jin Yun
Kanaga (1624-1644) When Iemitsu, the third-generation shogun of the Tokugawa shogunate in Japanese history, the concentration of power made some small princes lose their power and were unable to support the huge family in the family. The expense of the samurai staff, the disgraced samurai were reduced to ronin. In the era of decline, human nature may decline with the era. This is how Kobayashi Masaki's "Belly Cut" unfolds the plot.
A low male voice calmly narrated everything. A figure of a ronin with a saber appeared in the prince Jingyi's house, and people looked extremely small under the huge structures. This oppressive perspective constitutes the theme of the entire film, which is power and individuality. power comparison.
The two Chinese characters for "cut belly" appear ferociously on the locked door, nervous and depressed.
The floor plan of the prince's residence, the statues of the ancestors, the house several inches deep, the screen wall of the cat that catches the mouse, and the screen of the cypress tree, all of which show the strength and power of the Jingyi family. Reveals an inherent majesty. The camera travels through the courtyard of Ii's house (years later) to the tense music, and finally stops at the main house.
The peace of the world made those samurai who eat with swords have no livelihood, and the feudal feudal family fell into ruin, causing some samurai to use the excuse of "cutting the belly" to blackmail their masters. At this moment, such a person came to the Jingi family. Tsuyun Hanshiro, a down-and-out samurai asks for "cutting the abdomen". The old minister of the Jingyi family listened to the servant's narration, and a fan that opened and closed at times should match his helpless state of mind. The camera follows Jinyun Hanshiro into the long corridor, and the back of Jinyun Hanshiro still shows the bearing and strength that the samurai once had.
Kobayashi Masaki spoke through the camera. During the meeting, the condescending standing posture of the Jingyi family mirrored Jinyun's humble kneeling posture. It was obvious that they were not equal. The Jingyi family told Jinyun about a previous samurai Qian Qianyan. The story of begging a woman to come here to cut her belly.
In the scene where Qian Qianyan begged her daughter and met the housekeeper, Kobayashi Masaki used the trunk and shade of a big tree on the screen to show the difference in strength between the ronin and the shogun. A good film always speaks with the camera. The chatter is the series that aunt and aunt watch.
When the shogunate's family will bring the mourning clothes of the belly cut, the music confirms Qian Qianyan's timidity and state of mind with the sound of a small drum. The shogunate retainers dealt with this blackmail with contempt.
When samurai slashing became part of the deception, the fall of Bushido was inevitable.
Blackmail made Qian Qianyan begging her to go on the road of no return, and there was hesitation and helplessness in her eyes. Dying is now part of the ritual, a must in Bushido to fulfill the promise.
In the sharp sound effect, we saw the preparations for incision in the courtyard. In the knife inspection scene, a bamboo knife revealed the poverty of the begging girl, which also made Jingyi's retainers look down on this ronin who didn't even want a symbol of the dignity of a samurai.
Identity is embodied by certain appendages. The absence of the sword indicates the self-exile and negation of your identity, and the absence of belonging. At that moment, you are destined to be expelled from this circle and become the target of everyone.
The abdominal incision was solemn, and the pure white clothes of the incisor and the black clothes of the Ii family thus formed a chilling atmosphere. The condescending protagonist's words are calm, but you can still feel the coercion and toughness in it, which makes asking women seem trivial and humble.
There was no sound in the scene, only the cold voice and the colder eyes slowly drove a deceiver to a dead end. And the retainers scoffed at the begging girl's loss of the sword, and the begging girl who had grown the bitter fruit had to use the bamboo to kill her life. Several close-ups and close-ups express the emotions of the characters very well, and the images are the best annotations, beyond the language itself.
Cutting the abdomen with a bamboo knife has become a kind of torture to oneself, a kind of chronic torture. The music uses the slow pluck of the guzheng to set off this sadness, and it expresses despair and fate in a controlled manner.
The Jingyi family told the story, and Jin Yun said that his saber was real and that he really came to perform the belly-cutting, and asked the three retainers of the Jingyi family who had witnessed the belly-cutting ceremony to witness the belly-cutting ceremony again. And said: His today is the tomorrow of some people present today...
A prophecy, a curse, a word of fate, or the feelings of those who go to heaven for life.
The story is suddenly reversed, and in Jinyun's words we hear another version of the story.
In the past, accompanied by the music of "Sakura" and the scattered cherry blossoms, the begging daughter is the son-in-law that Hanshiro values and likes. Hanshiro and the begging father Jinnai are close friends, and they practice martial arts together. Cherry blossom petals have been floating in the background of this group of pictures, symbolizing the end and the end of life.
Jin Yun continued to talk about his 11-year life. The princes he followed were removed from the clan for offending the Tokugawa shogunate. The team committed suicide by scapegoating, and entrusted the 15-year-old son in the suicide note.
The three samurai who Jin Yun asked to help him could not escape. The Ii family was very strange. He and his ministers talked about how to force Jin Yun to cut his abdomen. Jin Yun insisted that he must have one of the three of them, because he had already taken control of the situation.
This kind of tug-of-war and confrontation, Kobayashi Masaki is very restrained, but only uses his eyes and few words to show that there is a Chinese mood of "clicking until it's gone".
This is the tranquility before the outbreak, this is the forbearance when the strength is accumulated.
The Jingyi family believed that Jin Yun was a shameless villain and tried to let the family kill him. Jin Yun stood dignifiedly and told them to restrain and listen to his life story. In this chapter, the director used several modeling shots to describe various characters. There is no doubt that his mental state is relaxed and proper, showing Jinyun's personality charm.
Jin Yun continued the story: In order that his only daughter would not become the concubine of a big family, he arranged for the marriage of his son Beggar and his daughter Mibao, and soon Mibao gave birth to a son Jin Wu. Also happy.
However, soon, the heavy work made Meibao seriously ill. An empty shot of a shower of rain beating on the window lattice pointed out this devastation and predicament, and the begging for a woman to find a job failed many times. When his wife was seriously ill,
he finally became his saber. , and later, because of his son's serious illness, in order to raise funds, he finally made this last resort and died in Huangquan. Jin Yun "maintained" the dignity of a samurai, but indirectly led his son-in-law to a dead end. The model of the samurai class was obviously no longer suitable for the new world. Only by changing, and only by letting go of the empty "shelf", can you adapt to survive. In the film, Jin Yun said this: I never separated from the sword, I never dared to do so, my ignorance made me hold on to the useless symbol...
Only human experience can educate oneself, only suffering and misfortune can make life find its true self-worth, and understand oneself behind the words and totems.
Dignity is earned by oneself, the title of samurai is not important, the important thing is always how to find a suitable position for yourself in harsh times, and make changes in exchange for survival. As Jin Yun said. Can't help but criticized the shogunate system and talked about the meaning of people, samurai, not only samurai, he is also part of the family.
Jin Yun's confession was of no use. He threw the buns of the three Ii retainers who were begging to death at the time, and said that it was not to take his life, but to ask for an explanation. This angered the majesty of the Jingyi family and ordered his retainers to kill Jinyun, but the retainers who also used swords could not get close to him. In the desperate struggle, he maintained his dignity with his actions. He smashed the Jingyi family temple and finally died tragically in the fire. in the hands of the gunman.
In the saying: The story is that Jin Yun committed suicide by cutting his abdomen in the Yi family house, and some retainers died of serious illness.
The face of the shogunate is always more important than the facts, and the powerful forces will always bury the truth in the night.
In this 1962 film, I seem to be chewing on a different flavor, as we all know, in 1962, the Japanese government imposed financial austerity due to overheated investment. [Note] In this year of economic contraction, Kobayashi Masaki has a specific meaning in making such a film about "dignity". He seems to be calling for something, calling for a way of self-seeking dignity, just like Jinyun's journey. He also pointed out the decline and sense of loss of the samurai (World War II soldiers?) in the peaceful era. This kind of change of roles seems familiar. Their setback and decline after the war are similar to the end of the shogunate. It was the director's questioning of the Japanese government. When the war is over, who will pay attention to the future of the soldiers! ?
In the end, Jinyun was killed by the riflemen, which is a metaphor for the end of the samurai era (old) and the arrival of the firearms era (new). Behind this metaphor is Kobayashi Masaki's cry and expectations for Japan's modernization process. "Power comes from the barrel of a gun". Similarly, a new world is transformed by a new dialogue form (knives and firearms), just like the story of the Chinese movie "The Whip", if you don't advance, you will retreat, and the right to speak will always be grabbed by yourself.
The film uses a lot of symbolic language to highlight the characteristics of the times, such as the thick and decayed tree in the Jingyi family courtyard (Yu He wrote the decline of the staff system), and the role of the wide screen in this film is to use the depth of field and scene to create. A kind of depression, the composition in some scenes is unreasonable, and the frame is cut above the shoulders, which creates a sense of depression and oppression. In addition, there are not many fighting scenes in the film. The highlight is the confrontation with Hikakuro Alisaki at the end of the film. The director used a set of shots to point out the fate and ending of the samurai: the long cemetery, the bamboo forest where Xiao Xiaosu was defeated, and the wilderness. , The wind blows the grass to foil their battle, Toru Takemitsu's music is very restrained, and the plucked strings of the three strings are used to create the tension of the characters.
OSAMA KAVKALU at Pudong Jackdaw Jingshe on
Tuesday, September 16, 2003 at 15:50
Postscript : I have consulted the older generation and the younger generation in Japan specifically about "Cut the abdomen" and the abdomen, and the old Japanese told me about the abdomen. The concept of shanghai originated from the ancient Chinese concept of loyalty and solar terms. It is a manifestation of Taoism, a kind of inheritance, and a symbol of inalienable ambition. And the younger generation is obviously not interested in all this, and even their visit to the right-wing "shrine" is just fun and profit-making, far from the Bushido of their ancestors!
At present, it is the generation of youth, youth is the lifeblood and future of a country, the spirit of Bushido is ignorance and loyalty, but his loyalty and responsibility have the meaning of the world. Whoever controls the youth will have the possibility of becoming the roost in the future. As far as the country is concerned, the future of the Chinese nation is in the hands of the youth. The gentleman is right about "bringing the doctrine", taking the essence and eliminating the dross, focusing on hard work, and striving for strength, so that the great China will one day rise to the east again.
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