The rhythm and soundtrack of some parts of the film are slack, and even the time point in which the story is placed - such a brisk summer day - seems to have been deliberately chosen by Hirokazu-eda, ostensibly to give the audience a 'moderation in rhythm', The illusion of 'warmth in life' is actually a sharp analysis of such a 'post-traumatic family'. As for the 'irreconciliation' within this traditional family, it directly points to the cruel nature of life
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Although the film focuses on the three generations of the Yokoyama family in just two days, whether it is the younger sister Qiannami's family or Yukari who has reorganized with many families and her son Chun with her ex-husband, the existence of these characters is mainly for the profile of the eldest son. The relationship between Junpei, the second son, and their parents supplements the tension and eases the rhythm to a certain extent. The eldest son Junpei, as a character who was left blank, although the film threw his death to the audience through a few shots at the beginning, it was not until halfway through the film that it was Hirokazu Koreeda who revealed the whole story of his death. Cheng's father finally found the reason for his mean attitude towards many families. At the same time, the character who was fictionally written in the whole film was given a very strong importance at once, and it became a lot of discussion about the relationship with his parents next. A role that cannot be avoided.
——It is Hirokazu Koreeda's characterization of 'mother' is euphemistic, but the direction is sharp, in the final analysis, she and many are compromisers of life and defenders of traditional concepts
The film's portrayal of her mother may seem inadvertent, but it is the most delicate in the entire film. In many details, she can fully understand her different attitudes towards her daughter Qiannami, daughter-in-law Yukari, Ryota and her husband Yokoyama Kyouhei:
Whether the mother will speak for the lot and put the memory of Junpei on the lot, whether these are because of the changes that Junpei has become the only son after Junpei's death is unknown to the audience, but what is clear is that ——Nowadays, the mother has obvious emotional tendencies between her son Rada and her daughter Qiannami - she can't remember how many years her daughter has been working after graduation; although she is not satisfied with the status of Yukali's widow, she still chooses to leave the rest. The kimono was left to Yukari, not his daughter; facing the idea of her daughter's family wanting to move in with her, she used her husband as an excuse to resign, but at the same time she wanted to keep the house for many families to move in after her husband's death.
Although her mother complained about her husband Yokoyama Kyouhei's masculinity and outrageous behavior, she only confided it through a door when her husband was taking a bath, or occasionally called a lot to talk about it, or when she was alone. Listen to the record that my husband sang with an old lover. Obviously, the mother's attitude towards life is compromising. Although it is impossible to know the mother's views on the elder and the younger between the pure and the many, it can be seen that she has a tendency towards male superiority in her heart, with a strong traditional concept.
——Although many have the will to regain their father’s approval, in the face of reality, the initiative of reconciliation is not his.
In the film, the father Yokoyama Kyohei not only has different emotional tendencies among his three children like his mother, but he is even more undisguised and unscrupulous in his expression of this preference - not only in the 'order of elders'. With a conservative concept, he also has a very different attitude towards the different careers that he has chosen to pursue - whether it is the traditional concept rooted in his father's heart or his eccentric and rebellious character, it is determined that he is unlikely to accept the existing Even after the accident of losing his eldest son Chunping, his father still chose to live with his obsession with Chunping and hatred for the 'little fat man' he saved, without the slightest The attitude of turning the past preference to the only son who is now. In the face of this uncompromising part of the father, let's look at a lot of attitudes from several details in the film:
Before returning home, many specifically instructed Yu Jiali not to disclose his work situation, but in Yu Jiali's view, many intentionally guarded his parents, but in fact, many did not want to let his father's prejudice against him get him. corroborate, and lose the possibility of regaining the acceptance of the father;
Apparently, when the rest of the family read a lot of essays about 'wanting to be a doctor like a father' as a child, he would be embarrassed and angrily snatched it up, and when it was night, he would secretly tore the essay paper to mend it. Okay.
It is not difficult to see that many people have the desire to reconcile with his father, but at the same time he accepts a set of traditional concepts of his father. When he was a child, he also hoped to inherit his father's clinic and career, just like his elder brother Chunping. Today, he will still cherish this former vision in his heart, but the reality is that it is impossible for him to realize it, and his current situation in career and life is not enough for him to challenge the concept of his father and renew it. Obtain the approval of the father, let the parents come out of the pain of Chunping's death. In this way, for this traumatized family, the initiative for reconciliation is not the mother, nor the many, but only the father who is unwilling to compromise.
——Some problems are destined to be unresolved, the pain will still spread, but life must go on
Towards the end of the film, it is Hirokazu Kore-eda who subtly uses Yugali and his ex-husband's son Jun, and to a certain extent alleviates the concern about Chun by letting Yokoyama see in this foreign 'grandson' a little possibility that he can inherit his doctor's career. The trauma of Ping's death, and the father-son relationship that he and Liaoda could not reach a reconciliation for, and taking advantage of such an opportunity, there is a scene where father and Liaoda bring Chun to the beach, we can say this scene It should be the most relaxed atmosphere between father and son in the short two days of the family reunion depicted in the film - as Hirokazu Kore-eda explained at the beginning of the film, although many have long since stopped talking about baseball. Interested, but still willing to use it as a topic to chat with my father, caring about my father's life, and my father is willing to put aside the pain within the family at this moment and put away a lot of mean attitudes towards them, and instead talk about opportunities The kids should be taken to the ball game together.
But the most helpless and unspeakable part of life is precisely here. After all, this kind of relaxation is only temporary. For the relationship within the family of Hengshan (father, mother, Chunping and many), there is no way out for reconciliation. , can only continue to be pushed forward by life, either with hatred or with compromise, just like the stranded fishing boat that Chun pointed to when he was on the beach, and it is no longer possible to leave the port; For this small family today, there is another kind of trauma - the bond between Yu Gary and her ex-husband, Chun and his dead father, as Yu Gary and Chun said when they were alone with the mother and son.
Even after death, no one really leaves. Your dad is here, in you (body), half of you is made by him, the other half is from me
Although many stepfathers who are Chun will also 'slowly become a part of Chun's life' as described by Yu Jiali, but for Yu Jiali, there will still be a song hidden in the deep memory, like many mothers. Will secretly take it out and hum when he is alone. For Chun, the blood relationship and fetters between him and his deceased biological father are not likely to be erased. In the dead of night, he will also run alone to the corner with his father. Dialogue, secretly told him 'I want to be a piano tuner like him, and a doctor second'.
Including before the end of the film, when the many families come to the cemetery again, the audience can see that many and Yugali have their own daughters. Between this biological daughter and Chun, will the many be like his parents? Have different emotional tendencies? This point is left blank in the film, and the audience has no way of knowing it, but what is certain is that another trauma that exists in this small family is also a real problem that is difficult to reach reconciliation, which makes people feel helpless, and even some The sad thing is that in the face of such a layer of pain and inability to reconcile, many do not have the initiative.
It was Hirokazu Kore-eda who took Lotoshi as a character shared by these two small families. Although he did not directly express the helplessness and pain inside this character, the subtle thing was that he chose a tall actor like Hiroshi Abe as Lottor. The actor, and when he returned to Hengshan's house, which was the focus of the film, there were many moments where he inadvertently bumped into the door frame, the intention of which is self-evident.
It has to be said that it was Hirokazu Koreeda who achieved an extremely thorough analysis of the essence of life by depicting the big family of Yokoyama - about life, we sometimes have difficulty distinguishing the five flavors in it, and life keeps pushing us forward. Sometimes it is too late and there is no way to explain the problems in the process one by one, and reach a reconciliation with paragraphs of pain. 'Non-stop' is precisely the cruel and helpless side of life.
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