Last Sunday, I played Ghost in the Shell on the screen for the second time, and while the feeling was still warm, I recorded some details that can stand up to pondering.
Degussa asked Suzi why he was transferred to the nine lessons, and Suzi replied: No matter how strong the fighting ability of a prosthetic person like us is, if all parts of a system are the same, then it is the fatal flaw of this system. Whether individual or collective, too singleness will only lead to destruction.
This sentence is the key to understanding Moko and the film.
Suzi and Bart hunted down the puppet hiding the chip. They split up. Bart looked for him in the noisy market, and then moved to the pontoon boat to fight. Dressed in modern high-tech coats, they were in a very traditional and even a little outdated vegetable market. , the sound and the canopy shuttle.
The puppet continued to run, let alone, through the wet and dirty messy neighborhood, and suddenly relaxed at a pool near the exit, looking at the hazy steel forest in the distance, with a strange smile and a moment of calm. The same is true for Suzi, running, running past abandoned debris, dilapidated buildings, chaotic billboards, and a mirage-like urban high-rise line at the end of the alley, she suddenly relaxed and slowed down.
The bustling bustle is so far away, but there is a dilapidated place nearby. The world depicted by cyberpunk has both the future and the cruel past and present that cannot be thrown away.
Facing the puppet who was unwilling to confess, Motoko asked him, "Your mother's face, where you were born, your childhood memories, what else can you remember?" Bart said that a puppet without a ghost is really pitiful, and it is still bleeding red... He put on a coat for Moko as he spoke. There is a subtle connection between Motoko's questioning and her passion for diving. She said she felt fear, anxiety, loneliness and darkness while diving, and maybe there was hope. Isn't the state of diving exactly the process of her being made into a prosthetic body in the desolate digital ocean where 0 and 1 repeat more than jump cuts? This is where she was born, a childhood memory. The new born is full of fear, anxiety, loneliness, darkness, and hope.
The manipulative garbageman, who always thought he had an angelic daughter, later found out that there was only himself and a dog in the photo. This also caused Motoko to ask herself, is she real? Or just implanted memories? In the middle, accompanied by the soundtrack, the camera swept through the crowd, and found many figures walking or sitting alone, sometimes accompanied by a dog. A dog looks at Moko on the boat on the bridge, wagging its tail calmly, sad and mysterious. This is a family formation that may become more common in the future, with a person and a dog. In Mamoru Oshii's movies, most dogs look like Basset.
Mamoru Oshii had a Basset when he was making this film, and he said: "The dog is my shell. If there is a dog in my film, it means it is a necessary condition. For others , this dog may be a car, or a piece of clothing, because everyone is looking for an external expression of their own existence. This 'shell', for today's young people, is similar to some kind of Personality in form, it occupies a central position in my films." He also said: "The ten years spent with dogs and cats are my real invaluable treasures."
In his interview about "Ghost in the Shell 2 Innocence", he said that what left the world is neither anger nor hatred, but nostalgia, and seeing this kind of hatred, human beings will begin to notice the core meaning of life. It is not just a simple attachment to life, but the attachment between people, between dogs and people, or between people and things. This is the real feeling that he hopes to touch through his works.
Original Soundtrack "M01 嬡I": https://music.163.com/#/song?id=4878701
In the theater, I completely appreciated the charm of Kenji Kawai's original sound, scattered drums, cow bells? And the human voice, it sounds very deep. It is not clear whether it is from the past or the future.
Confessions of the puppet master: I am not an AI, my code name is "Project 2501", I am a living being born in the ocean of information! This is the foreshadowing and questioning of the consequences of unlimited information in the 1990s when the Internet was just emerging. If ghosts no longer need shells, what will humans do with their shells? How to pursue a more extreme existence? If appearance, personality, memory, and more can be customized, what exactly is a person? Will new life forms emerge? ... Going back to the movies, human beings who are in a hurry to pursue excellence and development are still trapped in understanding their own existence, and also trapped in the nothingness that arises from it.
During the battle in the museum, when Motoko's tough body opened and the inner circuit elements were exposed, it was the first time that I felt sad and sad when watching the mechanical battle. It's a very rare new feeling, because most of the works show that the fighting is very cold.
The chariot's cannon smashed the evolution tree relief on the museum wall from bottom to top, and soon Motoko was integrated into the puppet master's sea of information -- an endless network. Very meaningful arrangement.
Near the end, Bart's arm blocked the bullet for Moko's head, because she only had human nerve cells in her brain, and it was the only part of her that remained human.
Barth sighed: The things that a person can touch in one's life are just a drop in the ocean to this world. is not that right?
Thanks to the animation exhibition, I watched this one and the red pepper one after another, and lamented that the tough, sensitive and highly emotional female characters are really a weapon for sci-fi works.
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