An old man, a knife,
starts with vulnerable groups, deceives the audience with deception, fascinates people with violence, uses lines to cover up the truth, and makes the picture talk to you
.
Unexpected ending, and it didn't just stop once. After playing with us, I
found that I couldn't help laughing in front of the screen.
If Bresson's standard is used, some people will think that his films are artificial. On the
other hand, I think it is even more natural. The natural thing is the simplicity and clarity of the violent scenes, and the chilling
and artificial feeling after the real reproduction. It comes from the shortcomings of insufficient details. Everyone knows that Chelsea's Terry is England's world-class iron guard, but it is just a racially discriminatory remark that makes him lose the captain's armband. This flaw is in my opinion. Excellent work and even a good person should have the quality. As the saying goes that no one is perfect, then one should not care too much about the so-called artificiality, but should be more active in seeing the message that the director wants to convey to the public.
Use the surrounding things to complete the supplementary effect of the event, such as the scarecrow in the film, the mentally handicapped child, the station, the interspersed song and dance, etc. As if it meant something, it secretly told us the context of the development of the plot, and sometimes I guessed it would go on like this, but suddenly turned a corner, and this is an effective foil for the other things. This is a matter of refueling, turning and speeding in F1 competitions. If you deal with the details a little carefully, the ending will be very different, and of course other sports events are the same.
Takeshi Kitano is good at creating some laughable scenes, diluting the sharp feeling of violence in the viewer's mind, and adding a beneficial sedative to soothe the film's atmosphere. Therefore, violence and spoofs coexist, without losing the bloody violence, and it can also ease the fear in the hearts of audiences who are not very violent. It is a surprising handling method.
Takeshi Kitano, who has two identities in one, is my favorite "dual" director, one is both a director and an actor, and it is indeed rare to be so brilliant.
At first, I thought that Zatoushi was the name of the city in the film, and then I learned that it was the name of a blind masseuse. This city can be called the "City of God" created by Takeshi Kitano in a certain sense.
The most surprising part is the suspenseful color created by the film, firstly, the true ownership of Jiu Zhimingbo; secondly, whether the masseuse is really blind; the
two suspense were not revealed until the end, and the child who left the scene early could not be hurt.
A metaphor of losing morality and dignity for money and even an illusory reputation. Take the ronin warrior as an example. Maybe there are two excuses that one must have loyalty as a bodyguard, and one must have loyalty in order to heal the sick, but lose the bottom line of morality and money. Desperately harassing others is also intolerable. But from the other side, it is also clear that when there is no support, no money and no way to continue, as a person, the distorted helplessness that arises in order to survive.
In my opinion, Takeshi Kitano is not only trying to show his violent aesthetics and ability to tell a story, but more importantly, the misery of ordinary Japanese people in the era of the film's feedback. The last tap dance is probably meant to refer to the injustice that still exists in today's prosperity.
Still wandering masseuse.
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