By the way, there was a time when it was fashionable to talk about Murakami, and it seemed that everyone who read a book would talk about it, but these people later went on to talk about other more fashionable things-suffice it to say that they did not understand the Japanese very much. I don't mean to imply that I have always liked Murakami. In fact, I am not interested in his "1Q84". I just have a good grasp of the 19-year-old boy who has accurately grasped the fermenting hormones in his adolescence and uses his body to feel the world and love. admiration. "The Catcher in the Rye", "A Clockwork Orange", "Guling Street Teenage Murder", and "Sunny Days" are all good, but because of my personal interest, I still prefer to hide the struggle in my heart. There are a lot of eccentricities Haruki Murakami.
Generally speaking, literary works that touch people with delicate and sensitive things such as language and artistic conception are not suitable for being adapted into movies. This is why Murakami has a great influence, but he is rarely seen by film directors. A loner who pretends to be depressed every day is a thankless thing. It can also be seen that Chen Yingying claims to be a Murakami fan. He did not change the basic structure of the original work, and adhered to the clues of the development of the story, but this also made him get into Murakami's trap. What I saw was not Murakami, nor the Chen Yingying who had filmed Papaya, but Chen Yingying trying to reproduce Murakami - the superposition of the two is not three-dimensional, but a double image. In the process of watching the movie, I often think of the original book and want to see how Chen Yingying visualized it, but there are not many hits. Chen Yingxiong has no choice. He can play to his own advantages, but in expressing the depression of adolescence, he cannot surpass Murakami who uses this as a trademark anyway.
The film's handling of several characters makes people speechless. Chen Yingxiong's IQ seems to be unable to control such a complex and subtle relationship. He can only use the sound of rain and white snow to create the atmosphere. The inextricable things that connect the characters are gone, and they become mindless dolls, manipulated by passwords. The relationship between Watanabe and Midoriko was very rigid, many of their conversations were cut off, so the feeling of comfort and casualness disappeared; the relationship with Naoko was tangled again, and Watanabe's reaction after Naoko died Too intense, this is not Watanabe's style; with Nagasawa, there is a lack of fit, because Nagasawa said that they are "essentially people who are only interested in themselves"; and Reiko is a failure. I think a lot of body language and eye contact could be used to achieve this, but the film falls short. I don't know if viewers who don't know Norway will find the characters' reactions so unsustainable.
Murakami has his own tone. I have always felt that there is an inextricable loneliness in Murakami's works, and he seems to enjoy this difference while masochistically abusing himself. Therefore, his loneliness is abundant. He said at the beginning of "Kafka on the Shore" that the fifteenth birthday is the most suitable time to leave home, too early, too late, and a little too late. I remember thinking at the time, I wouldn't be able to say it if I were killed. It reveals a kind of sharpness and vicissitudes in its bones, and it is even a little cynical. A casual narrative of fireflies in "Norway" also reveals the unbearable lightness of life. I didn't know why these things were not found in the film at first, but then I figured out. The storyteller in Murakami's novel is 37-year-old Watanabe. This Watanabe is gone in the film and his aura is lost. Plus, Watanabe's final "I love you" to Midori on the phone is the film's most unforgivable adaptation of the original. Chen Yingxiong should have seen it. At the end of "Norwegian Forest", the question Watanabe asked himself was "Where am I"! The difference between the two realms does not need to be analyzed. Ugh.
Many of the above words are very unkind, just a movie. Moreover, I also gradually moved away from Murakami. Maybe Murakami wrote a poem when he was young and dedicated to someone who is nowhere today. Looking at it now, in addition to a bunch of redundant promiscuity, there are some reflections between self-righteousness and self-denial. The repeated speculations, wanderings and assumptions are sometimes nostalgic because they once filled a long night of insomnia of a teenager with a faint world-weary complex.
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