The director is Chen Yingxiong, a French-Vietnamese-born film. His films have a very Asian flavor. The representative work is [Tricycle Pi], which describes the life of the underclass in Vietnam, and won the Golden Lion Award for this.
The photographer is Taiwanese photographer Li Pingbin. My favorite works include Xu Anhua's [Women Forty], Hou Hsiao-hsien's [Coffee Time], Wong Kar Wai's [In the Mood for Love]. To be honest, I can't recognize the art, I only know that it is a collaboration between a Vietnamese American finger and a Japanese American finger. The
picture is not bad, just too Asian.
When I was preconceived, Haruki Murakami in my eyes was very middle-class, very dusty Japan. Friends commented that Murakami's "goddesses" are very detached from daily life. They may be a little out of order, but they are very dusty. No matter the shooting Whether it's art or art, it should be good Tony Takiya, good Sakamoto Ryuichi, maybe a bit Kitamura Michiko.
But this picture is really, not an afterthought, very Wong Kar Wai (meaning very Thai), very Cai Mingliang (that is, very Malaysian means), and of course Chen Yingxiong (meaning very Vietnamese). Although the location is in Japan, the actors are all Japanese, and they listen to Japanese, but they are not Japanese at all, and there is no Haruki Murakami on the screen
. , I actually don't mind the directors making the story with another theme. I'm a movie fan and a bookworm myself, and I understand that novels and movies are two completely different mediums. A novel is reduced to 2, 3 hours of film It's not easy at all, not to mention that there are many parts of the novel that are difficult to explain with pictures. The adaptation of the film actually depends on the director's understanding of the story and the ability to cut down the branches. A good novel does not have many branches.
Before watching the movie, I had heard that the director made this movie into a pure love story (the novel is a story about the "bonds" between people, and the crazy youth love story of the world). I have already Be mentally prepared that this is a [love letter]. I was surprised in the opening 10 minutes, the director did not "adapt" the novel, but copied some paragraphs on paper, and at the same time omitted many foreshadowings describing these paragraphs. After reading the original book, of course, you will know the relationship between the characters and the stories they bear; but for those who haven't read the original book, it should be very strange and difficult to follow.
I don't know if the director thinks the "sex" in the original book "It is the most important bond between people, and after omitting some paragraphs, there is almost no description of the character's character and distortion (Naoko's first time to Watanabe simply because he is the only existing bond between her and Kizuki; Nagasawa) He is an overly beautiful man, he wants to prove his existence with sex; Reiko has been living in Ameliao for too long and is very afraid of the world, and she has no sex with Watanabe in order to return to the world; Midori is a person who keeps telling lies that don't get in the way Girl, her sexual fantasies are almost all lies to get people's attention), and in the end the movie turns into a very "chicken bug".
For the actors, what I'm most dissatisfied with is "Naoko". She is mentally ill, but not crazy. Although it is not stated in the book , but she was too careful, and she was trapped by the deceased Kizuki's side and couldn't come back to this life. Now it should be similar to melancholia. And in the book "Naoko" is a "goddess". Watanabe has been unsure. Does Naoko love herself? Her "illness" represents her nostalgia for Kizuki, so Watanabe has always wanted Naoko to get better and return to herself in this world. But Rinko Kikuchi's performance is completely the dementia of a mental patient What I am particularly dissatisfied with is that Ameliao is actually a nursing home, and almost all the people living in it are already well, just a kind of transit station. The Naoko in it should not be crazy. And they "walk quickly" "It's too fast, it looks like a lunatic. The image processing should take into account the feeling of the speed to the audience.
The second thing that makes me dissatisfied is Kenichi Matsuyama. I admire him for his courage to make himself ugly (DMC, Death Note) in order to stay true to the original. But he is so handsome in this movie. Watanabe should be very featureless A person. Everyone likes him because he is smart but very present. He is so handsome that everyone looks at him because he is handsome. If you use an analogy, the role of Watanabe should be Ryo Kase or Kuroyuki Sasaki Jie is a guy who doesn't have much features, is not too handsome, and is very Japanese.
Then I am dissatisfied with Mizuhara Kiko, she is a model. In fact, her appearance and speech are very small forest green, but unfortunately she is really a good person The model is really not very good for her acting skills. After the director cut the story, the dialogue without acting skills alone can't bring out the green naughty strangeness.
Every character in the original book is very three-dimensional and very realistic. We Everyone may have a Naoko, a Watanabe, and a Green. But the three people in the movie are very inhumane, and they can't drive the audience's emotions and resonance.
Forgive me, I can't understand what the director is shooting. I can't understand Does he want to make Haruki Murakami's Norwegian forest or does he want to make a movie of Chen Yingying.
But in this film, I can't see the shadow of Haruki Murakami, and I can't see the shadow of a reasonable movie.
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