Let’s talk about the structure. This structure suddenly reminded me of the structure of “The New Pouch Talk”, one by one small stories, there is no logical beginning and end, there are only episodes with abundant plots. I had a premonition that there would be ghosts, and sure enough, the zombie-like fox startled me, and then there appeared the Taoyuan girl who would disappear, the evil snow girl, the dead soldier, and the cannibal king. Fortunately, the atmosphere of terror did not exist. Not heavy, so I could watch and get numb.
I like some stories very much, and they are very distinctive. I have read a lot of film reviews, and many people like the story of the fox's marriage and the paradise. As far as I am concerned, what I like more is the section where the puppets dance in the paradise, the beauty of Japanese culture and color. Here it is reflected to the extreme. The gorgeous kimonos on the dolls, the green forest environment, and the lightness of the peach blossoms make the scene a visual spectacle, which reminds me of the play of colors in "Heroes", which Zhang Yimou likes. The style is probably similar. However, I think there is still a difference between the two in their grasp of color. The color used by Akira Kurosawa here is like gouache, while the color in Zhang Yimou's "Hero" is more like an oil painting.
I also like the section where "I" entered Van Gogh's painting, the oil painting-like colorful bridges, the Dutch houses, and especially the color of the rice fields are the most praiseworthy. When I was painting the oil painting, I thought of the ending of "Landscape of Love" I had seen. It was also the protagonist watching and walking in the colorful painting, as if he was in a fairy tale world. Perhaps "Love" refers to the narrative method in "Dream", the difference is that "Dream" is a painting by Van Gogh, while "Love" is a cartoon of Jimmy.
The Xanadu Waterwheel Village in the last paragraph seems to bring people to "The Peach Blossom Spring". I talked about a lot of obscure environments earlier. It's a good way to end it. I don't know if Kurosawa has seen Tao Yuanming's "Peach Blossom Spring". " for reference. However, the color lacks a little Chinese-style classical elegance. Later, I saw a lot of people singing and dancing, beating gongs and drums. I think it is more similar to the tone and atmosphere of Tahiti in Maugham's "The Moon and Sixpence" I imagined. , of course, just personal feeling.
The other obscure passages are nothing more than dialogues between two or three people, sternly accusing the war, requesting the protection of the environment and saving resources, etc. The more I look at it, the more similar the theme of Hayao Miyazaki, especially after the melting of Mount Fuji, the three people evacuate to the seaside. When the scene is full of messy eyes, it seems to be a realistic version of the messy scene after the war in "Goodbye Firefly". I should also mention that when I followed the cannibal king up the hill, the scene I saw may have been derived from the scene in Dante's "Purgatory", but I forgot which floor it was on.
The above is a summary of my feelings about this film. Let me mention it again. I was particularly shocked by the face of the fox and the doll. I am too unaccustomed to such a stiff figure, pale cheeks and blood-red mouth. The expressionless expression , coupled with the gorgeous costumes, is very similar to the impression imprinted on my mind by the evil ghosts in the early Hong Kong films, so I always feel that they have a gloomy and eerie atmosphere. Just like when I watched "A Dream of Red Mansions", I thought about Cao Xueqin's clothing colors for the characters in the novel. Most of them are always intertwined with red, green and silver. They are very bright, and they also look like paper people who have been thinned into pieces of paper after many years of death. The activities are in the story. During the plot, it is very disturbing, but it is also irresistible.
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