I just finished watching the Norwegian movie version. The reviewers said it was good. The movie was well done, but it was still far from Murakami. Maybe the language of the novel and the language of the movie are too different after all, and watching any movie that I have read the original did not impress me, Harry did, and the godfather did. Lin Shaohua said that the attraction of reading Murakami is that anyone can always read themselves. Given the popularity of Norway, perhaps a thousand readers have a thousand pieces of Norwegian forest in their hearts. Then I have to say that Chen Yingying is very different from the forest I walked into.
The whole movie basically covers the basic plot of the original book, that is to say, the general story is told in two hours. This may be a feat, but after all, this is a Norwegian forest. I am afraid that the attention it has received since the film started. Congenitally more than usual. And the atmosphere of the whole movie is very different from the scene in my mind. So far, before I have forgotten the movie scene or confused it with my own mind, I record it as follows, by the way, I will be my own account of Nuo.
The Death of Muyue
movie basically restores the whole process of the death of Muyue as the background of the story. Childhood with Naoko, inseparable with Watanabe, the three "date", and the final billiard table and exhaust pipe. However, the cause of Mu Yue's death was not explained at all. I think Kiyuki's status in the original work is no less than Watanabe's, and it is a key connection point for the development background and character clues of the entire story. In the book, Muyue's "talent" is explained, which can make the three of them chat without embarrassment, and plays a leading role in the small circle. And Naoko revealed the cause of Muyuki's death in the middle part of the book, and was extremely unconfident, thinking that it was not good and had to change it, and finally ended up like this. Muyue finally chose to die on the 17th, and failed to continue to face the world. This is the keynote of Muyue and the whole story. The director deleted it and blindly pursued the integrity of the story, resulting in many plots later. It's a bit far-fetched. If you haven't read the original book, the audience will be a little confused. It is precisely because of this that the most famous line in the original work, "Death is not the opposite of life, but is a part of life forever" does not appear at all. I'm not sure how high this sentence is in the book, but it's still one of the few overt clues to the story.
Nagasawa
I've always tended to see Nagasawa as a strong contrast to Kiyuki. In the book, Yongze has an extraordinary social background and social skills, as well as a clear understanding of himself and the world. Unlike Muyue, Yongze, who is absolute self, faces the society with a playful mentality. Even if he is admitted to the Ministry of Foreign Affairs, he is just "trying to see how high he can climb within the system". Yongze will not choose death, because in his life, his self is much higher than the society composed of the vast majority of mediocre people, and he has a clear goal and works hard for it. This is a character that makes me shudder every so often while reading, and his words and deeds all make me look at myself. Yongze is a successful person in society, despite his misbehavior, even if he hurts people deeply, he will not hesitate to improve. I am afraid this is what modern China pursues and what my own social role pursues. This realization is one of the places where Noh has the deepest influence on me.
In the film, I was greatly disappointed to evaluate Yongze with only one sentence of "a keen observer and a pervert at the same time". Perhaps due to the loss of the meaning of wood moon, Yongze's original full character is unnecessary. But Yongze may be the closest connection point between the whole story and society. Treating Yongze as a "mediocre person" and highlighting his bastard side is probably my deepest negative impression of the movie. Fortunately, Yongze's words to Watanabe, "Don't sympathize with yourself, sympathize with yourself is a coward's deeds" are still inspiring, just like the entire three years of high school.
Another, or even more unfortunate, deletion of Reiko
appeared on Ishida Reiko. The story of Reiko and her relationship with Naoko and Watanabe are not mentioned at all in the film, and only the phrase "in these seven years" is passed. This may be the need of the film's length, but it makes the climax at the end, that is, I don't know why. Reiko's classic line "Let's do it with me" when she came down was extremely abrupt. Although the movie here has been heavily adapted from the original, trying to make the plot logical, such as Watanabe's surprise, Reiko taking a bath and looking in the mirror, and the superficial sentence "Finally regaining the youth of seven years ago". But these not only make the whole plot irrelevant to the main content, but also completely shape Reiko into another image.
Reiko in the book has always appeared as a wise man and a close friend, always a pleasant character. Reiko will never cry over Naoko's death like in the movie, nor will she sleep with a boy 30 years younger than her just for "getting back your youth". In the book, when Watanabe wrote to Reiko and confessed his relationship with Midori, Reiko's reply was sincere and wise, without pretense. At the end of the book, the funeral held by Watanabe and Reiko for Naoko is the climax of the whole thread. After singing dozens of songs, Reiko said to Watanabe, "Do it with me" and Watanabe's answer was " I think so too". Reiko no longer needs to regain her youth at this time. The main theme of the whole story at the end is to look forward. The excuse of "getting back your youth" seems out of place.
Hatsumi
Hatsumi is the most outstanding character in the film in my opinion. Not only is she faithful to the original book, but she is graceful and graceful, and her emotions, tone of voice, and expression are just right. Perhaps it is because I favor Yongze too much, and a large part of this tragic character in the book is to help shape the image of Yongze. In the book, Hatsumi appeared for Ai Yongze, disappeared because of her love, and by the way explained Yongze's whereabouts. It is a pity that the film does not have the space to add the plot of Hatsumi and Watanabe being alone, and another dominant clue in the book, that is, the "some kind of lost light" that Hatsumi has, also fails to appear. However, it did not hinder the success of the role of Hatsumi, and the image of Hatsumi in the picture is already radiant.
Naoko
First of all, the casting of Naoko in the movie has completely subverted my perception of Naoko. Although the actor's acting skills are not impeccable, the image of Naoko created is understandable. However, the scene when he first met Watanabe in Tokyo did not show the "spirit of a girl" described in the book. And the director's grasp of Naoko's character also makes me disagree. Due to the decline of Reiko's status, most of the scenes in Amiliao were completed by Watanabe and Naoko. One of the walks is said to be a camera from the beginning to the end, with a long lens of several hundred meters. However, this setting makes all the background explanations for Naoko fall into the direct dialogue between Naoko and Watanabe, which goes against the character of Naoko in the book. A large part of Naoko's "abnormality" in the original book is revealed in the way he communicates with people, but because there is a lot of background to explain, Naoko in the movie looks like a resentful woman, chatting endlessly. Moreover, the method of "going fast" in the original work is only to show Naoko's poor communication with people, but when an actor performs it, it seems to have a great emotional color. There are also hypocritical behaviors like crying or "you don't love me" that shouldn't have happened to Naoko, at least in my mind.
Naoko in the book still appears in the form of a "cute girl" most of the time, and most of the passionate scenes in the film against the dark background do not help to shape this image. The root cause of Naoko's death is that Naoko lived in the past after all, living in the life of Kiyuki and his sister who was not mentioned in the movie, so no matter how hard he tried to look forward through Watanabe, he failed in the end and died tragically. . As Naoko himself said that she and Kiyuki "did not feel the pain of juvenile sexual repression at all during adolescence, so they had to pay it back later." I think the image of "not wet" is a way of expressing Naoko's desire to look forward and fail. , the overemphasis of this point in the film, together with the lack of the connotation of Kiyuki mentioned above, makes Naoko's death seem much superficial.
Midori
The green child in the film appears to be more direct than lively. The constant silence during the conversation makes Midori's image a little off. In the original book, the conversation between Midoriko and Watanabe is mostly a question and answer with little interruption, and Midoriko often throws out a large section of emotion that takes up half a page, which makes Midoriko too taciturn in the film. It is also a pity that Luzi's description of the revolution and the university has been deleted. The director has put a lot of effort into the background description and story advancement here, and at the same time, there is no space for many of Murakami's sharp language descriptions, and these language descriptions are the main way to portray characters in the original work. And after cutting off a large part of Midori's family life background, the last Midori's "I've been hurt enough" seems a bit hypocritical.
Midori is one of my favorite characters, whether it's her unyielding character or her direct pursuit of love, and even her often messy side. How happy it is to find a girlfriend who can watch pornographic movies together after watching jokes with classmates. Midori's distinctive character constitutes another main line besides Naoko Reiko in the original work. At the same time, it contrasts sharply with the warmth and sadness of Naoko's line. It is often pleasant and comfortable to read. It is said that Midoriko was written by Murakami based on his wife. Perhaps Murakami loves this character as much as his readers. It is also a pity that the movie deleted the part about the Kobayashi Bookstore. This part, together with the description of Nagasawa and the class strike, constitutes the basic world view of the characters in the original book, which is probably Murakami's view of society at that time, and only a few characters in the movie are used. The student tide screen passed by. But for a youth love movie, it is understandable to delete these.
The description of Watanabe in Watanabe
's film is quite satisfactory. What is slightly lacking is that Watanabe's brilliant eloquence has not been fully displayed. This is a major regret of this film. In the book, Watanabe stands out for his "special way of speaking" and "good at explaining things to people". Murakami's character depiction of Watanabe is also mostly through language and letters, and Murakami is the most outstanding in this aspect of the novels I have read, including several later works such as Kafka on the Shore, The Shape of a Different Bird until 1Q84.
I once discussed with my mother that Watanabe is the most outstanding task in the book. He does not adopt any extreme attitude towards the world, neither Kiyuki's inferiority nor Yongze's arrogance. Watanabe and Midori are the two most "normal" characters in the book, or the ones who are most able to accept their abnormality. Watanabe's lack of concern for current affairs is just right, and his disdain for "student leaders" and his refusal to communicate with Jiang Yongze reflect his inner strength. And being honest with people is Watanabe's way of survival. In other words, even though he doesn't know himself well, he never pretended to be rude when he treated others at that time. The little girl Reiko taught in the book is a stark contrast to Watanabe, who caused and cured the collar disease respectively. It is because of Watanabe's "willingness to dig his heart" that he is different. What is sad is that most of the world's people are like little girls who use lies and likability as a way of life. In the end, it not only hurts people, but also saves himself.
Watanabe's strength lies in his dual awareness of self and society, which makes him different from Kiyuki and chooses to live, and finally ends in a mess. His self-protection ability is first-rate, but unlike Yongze, he does not use it to hurt others or achieve his own goals. Watanabe is not the commanding height of morality. He lives as an ordinary person crying and laughing, and he is peaceful in the waves of the world. This is representative of Murakami's early works, and until the revolt of Itoori and 1Q84, Watanabe has always been a peculiar figure.
The characters of the Expendables and Midoriko's father
are just passing by in the movie, but they play a pivotal role in the original book. They represent the common people in Yongze's mouth and the petty citizens who constitute society in Luzi's mouth. They only care about "the trivial ideals in the trivial life", drawing maps and running bookstores. They don't have Nagasawa's ability or Watanabe's insight, but they don't struggle with inferiority and arrogance, living is a given that they have accepted without thinking, the knowledge they think about is living itself, radio gymnastics and tax collectors . Eventually they disappear and die, with uncaring "moves away" and peaceful mundane funerals. This is the group of people that Murakami is really trying to describe. They will never be the protagonists, but they will always exist.
Movie
The setting of the whole movie is very different from the Japan in my head, and one of the flaws of the movie is that the story of the streets of Tokyo is tethered to the dormitory, the swimming pool and the park. Compared with the novel, it has a lot less sense of substitution. And the whole picture has a humid Southeast Asian atmosphere, I don't know if Chen Yingxiong's Vietnamese background is too strong. The large section of sexual description is not unexpected. After all, in the junior high school era, Nuo was circulated in the name of "Yellow Book", but what Murakami wants to say is not sex after all. The director relies too much on the camera to describe the atmosphere of the story. After all, it is about sex. We have sunny days.
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Move for me is Representing the very personal novels of that period, it took a lot of effort to write them, and the lack of pen power is inevitable. Nao probably made me realize for the first time that I was abnormal, so that I could stay awake for a while. However, life will never be as Naoko said, only hovering between the age of eighteen and nineteen.
So far put pen to
paper 2011.3.15 5:42 am
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