The four major families of Fenglin and Volcano are represented by four colors respectively. The magnificent war scenes are matched with the use of colors, which makes the picture very epic. The colorful phalanxes in "The Great Wall" are obviously used in the east. There is a difference between borrowing and imitating. "The Great Wall" and "Shadow" have no bottom line to some extent.
The colorful and depressing scenes in the avatar's dream show the sense of detachment and the complexity of the mind. The reflection on the water surface even hints at the illusory in the avatar. The avatar stepped into the water but was entangled in the mud.
Akira Kurosawa's extreme use of color sets off a strong and powerful sense of ritual, and he has to show reverence for the grand epic, and also lays the base color of the film's tragic in the bright red and black atmosphere. For audiences who are not familiar with Japan's Warring States period, with Akira Kurosawa's excellent expression through the characters, a historical picture was rolled out for the audience in a short time, and then a three-hour performance was performed. In the middle of the story, the ups and downs and the humanistic feelings highlighted by fate, when learning the news of Shingen's death, Oda Nobunaga also expressed his regret for the deceased who had a glorious life. The whole article stands in the perspective of the torrent of human history, and "Shadow" gives the opposite relationship between black and white, but it seems that the pattern is not enough.
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