This is a movie from 1949, when we were busy building our nation. can not imagine. This year, the 4K restoration version came out, so I just checked it out. Really amazing. The film is full of Hara Setsuko's smile. It really is the same as the calendar when I was a child. Chu Chu moving.
There are many artistic attempts by Yasujiro Ozu in the film. For example, take pictures of the position of people quietly. Under the dislocation of the Japanese screen compartment, there is a different sense of space. It is very interesting that the shaping of these senses of space is achieved by Japanese paper sliding doors. There are also many lenses that only shoot scenery, quietly shooting scenery, and sunlit courtyards. buildings, streets. and the furnishings in the house. It's like he's always trying to get the perspective out of the way. leave the human world. Strip away the clutter of human existence. Sometimes people leave traces and just leave, it seems that they still have body temperature, and sometimes there is no one for a long time. It's like peering into a world where no one exists. These attempts at visual language are all the feeling of a master, giving people a lot of room for reverie, and also in line with the philosophical core and temperament of the Orientals. It is not difficult to say, but it is not difficult to think about it now. But that was 1949. It was all about exploration then. Still a black and white world.
The story in the film is also interesting. Mr. Xiong, the fiance who talks about him, has never appeared. This is also the handwriting of a master. It was unimaginable to be able to do it at that time. After watching this movie, I knew that the kind of close-up of a character's face in Lao Changying's movie was learned from someone. We did learn the essence of the technique. Watching our own old movies is indeed quite the approach. But the difference is that our previous generation of filmmakers could not yet understand their artistic attempt. It can be said that at the beginning, we cut off the most important piece. In our black-and-white films, there is almost no such exploration. But also excusable. At that time, Chinese films could not understand the purpose of these scenes that only shot still scenes without expressing or ambiguous meaning. It's like my long shadow teacher can't understand the concept of Wolverine in "X-Men" at all. It turned out that from the beginning, we were one step slower and one less leg.
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