Violence and Beauty

At one time, I felt that I had the ability to appreciate the beauty of violence, especially the kind of sudden, non-consciousness that led to a powerful explosion. Usually, such scenes are due to the clever interspersed between editing and camera angles, and the audience's visual system is often involuntarily mixed with red and gray. Occupied by alternate performances, and the magicians behind the scenes are like the nameless old monks in Jin Yong's novels, and they are masters outside the world. Actors are just a tool for them to teach what they have learned and become famous, as stated in the first clause of Murphy's theorem: nothing is as simple as it appears on the surface.

However, it is not impossible to achieve "as the eyes see". If other people's tendency to speculate is excluded, and the real blood is simply displayed for the sake of violence, such beauty is debatable, but it catches the eye and the instinctive senses For the audience who was exposed to such pure violence for the first time, it is worth remembering. "Killer Ah Yi" is such a movie that forcibly broke into the hearts of the audience. After 6 nights of visual torment, it finally ended the two hours and eight minutes of mental torture. Those images don't make me associate and apply to dreams, but they do greatly increase my "appreciation" limit. Director
Takashi Miike is good at making ghost movies, but I think this one is easier to give up than any ghost movie.

The whole story, if you call it a story, the main line is very single, the protagonist Yuan Huan boss (played by Asano Tadanobu) is an extreme masochist, he frantically chases the pleasure of being tortured to death at the moment, and his understanding of pain is contrary to ordinary people. The object of his pursuit, Aichi, is a schizophrenic. Because he was hypnotized by Ajie to think that he had been bullied, his deeply hidden sadistic tendencies were driven to revenge everywhere, which then led to suffocating scenes. The biggest difference between these images and the images of artistically violent movies (such as "Hana") is that they can be accurately described in words, such as the exaggerated scars on Tadanobu Asano's face and the torn cheeks sealed with ear studs corner of the mouth. . The best thing about this movie, in my opinion, is that it's just about showing a form of violence without moral or social stereotypes. Compared with the samurai played by Takeshi Kitano in "Zatoichi" who kills for justice, Yuan Huan and Aichi show horrific scenes of abuse out of their own preferences, or because of their personal nature. It is the original "beauty" that is closer to human nature. In fact, I think most people have a similar experience. Of course, the object is not human, because of social morality and legal constraints, but human society will not try to protect ordinary grasshoppers or ants that are not facing extinction. For very weak children, it is also us in the past, and the torture added to them is essentially no different from Yuan Huan or Ah Yi. According to this inference, it is easy to see that what the director is showing here is a kind of unregulated beauty, like an unpruned garden. Although it is messy, it is full of possibilities that can be modified, or a kind of foundation. Hegel's definition of beauty necessarily negates the part where it doesn't know what to do, so the film is more like a violent material library, which is the fundamental reason why many of its scenes have been copied by multiple directors (such as "Kill Bill").

The uncensored version of "Killer Ah Yi" is nearly 40 minutes longer than the censored version. I think any abridged work is a ruthless betrayal of the original work. Of course, this sentence is based on the concept that the original work is a meaningful work. , but does not include commercial significance. Because commercialization will inevitably be mixed with the tastes of the common people, whether a commercial film is deleted or not is purely out of moral judgment. It was originally for entertainment purposes. It does not matter if the deletion means the reduction of entertainment.

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