Midori's casting is even scarier. Corresponding to Naoko's soul-like ethereal spirit, Midori represents the warmth, happiness and truth of the mundane world. She has a father, sister, boyfriend, and loves cooking and pornography, and loves life. She has an innocent sense of jumping, full of energy. Mizuhara Kiko's eyes were ambiguous and damp, and her behavior was reserved and still, so those naive dialogues became very erotic, and those daring actions turned into trolling!
Reiko's actor also didn't play well. Reiko's characteristics are neutral, with a masculine unrestrained, smoking cigarette, neat demeanor, with her own edges and thoughts, her singing should be open-minded, warm, with years of wind and frost and like sunshine, right? The slender and soft feminine singing in the movie makes me unacceptable!
Matsuyama Kenichi's image is suitable, I can't think of who is more suitable for this role besides him? It may be the problem of the director's guidance. In this play, his performance has always been suppressed. I feel that Watanabe in the original work is more confused and disoriented in his youth. Even if he has experienced things that cannot be explained by age, he seems very Open-minded, accepting everything in life calmly, there is a kind of dashing. Matsuyama Kenichi is very handsome, I have always been fascinated by it, but handsome man, I said, can you not always bend your lip line like L aggrieved?
By the way, the golden lineup of "Norwegian Forest" in my mind: Watanabe, Okada Masao. Naoko, an enhanced version of Yu Aoi's acting skills. Midori, in the Ueno tree. Kiyuki, Kubozuka Yosuke. Yongze, wife and husband Mu Cong. Reiko, Koizumi Tokoko. As for Hatsumi, Miyazawa Rie was a good fit when she was young, and if she is of age now, Ryoko Hirosue is also fine. YY, let's YY~
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