The content of this film is very simple. The film tells the story of a lonely little boy Zhengnan (played by Yusuke Sekiguchi), accompanied by his middle-aged uncle Kijiro (played by Takeshi Kitano), to find his mother together in the summer. I believe that many viewers are like me. It was not until the end of the film that Hao Ran found out that Kikujiro turned out to be an uncle and not a little boy. In terms of narrative, Takeshi Kitano can be said to be well-intentioned. He skillfully intertwined the two story lines of Zhengnan's search for his mother and Kikujiro's search for his mother. On the surface, the film is about the little boy Zhengnan, but in fact it is about the "big boy" Kikujiro; on the surface, it tells the story of Zhengnan's search for his mother, but in fact it tells the story of Kikujiro's search for his mother; on the surface, it is about the growth of Zhengnan. , In fact, it is about Kikujiro's perception; on the surface, it is about cruel reality, but it is actually about a warm fairy tale.
Takeshi Kitano is a genius when it comes to using the special effects of the lens to create jokes. In a panoramic shot, Zhengnan happily runs around a pair of young lovers.
On the other side, Kikujiro was struggling to figure out how to throw three oranges with two hands.
During this process, the camera slowly begins to pull back, gradually changing from a panorama to a large panorama, a large panorama to a long shot, and finally to a large long shot. The audience usually can't help laughing when they see this, because the audience will find that they are actually in Play in a grass field with a "No Entry" sign.
In another scene, Kitano uses the same technique to achieve dramatic comedy. It also started with a panoramic shot. Kikujiro was about to inflate a tire. He first asked Zhengnan to find some tools, and then he began to try the method of inflating the tire.
At this time, the camera began to slowly pull back again, as if it had a tacit understanding with the audience, and the lens was pulled from the panorama to the big panorama. From this, the audience could see that the due south who was looking for the tool did not go far.
The camera is pulled into a distant view, and the audience will see the owner of the car standing at the rear of the car and looking at Zhengnan and Kikujiro.
One of the important reasons why this movie is so touching is that the movie successfully makes the audience feel the loneliness in the hearts of Zhengnan and Kijiro, and this emotion is common to all people. Takeshi Kitano used a lot of lens language to express the loneliness of Zhengnan. Here are a few pictures to illustrate:
A person goes home
and eats
alone. The following two shots are more extreme in expressing loneliness, using a super wide-angle panoramic view. The shots show the loneliness and fragility of the characters.
Zhengnan alone in the lonely stadium
Zhengnan failed to find his mother, alone at the seashore.
This movie can be regarded as a fairy tale made by Takeshi Kitano for adults. Zhengnan's mother had a new family and children after remarried, and there was no place for Zhengnan. Zhengnan's journey to find his mother ended in heartbreak, but Kijiro almost ingeniously conjured up an angel bell and gave it to Zhengnan. (This angel bell was actually snatched by Kijiro from two innocent motorcycle guys), and told him that this angel bell was left by his mother for Zhengnan, as long as he is unhappy or in trouble, shake it Ring the bell and an angel will come. When I saw poor Zhengnan start to ring the bell full of anticipation, I also prayed sincerely in my heart, the angel will appear soon!
In fact, the angel has already appeared by Zhengnan's side, and Kikujiro is an angel. Similarly, the young lovers, van men and motorcycle men encountered by Zhengnan during the journey are also angels - as long as there is love in their hearts, they are angels! You can be an angel with love in your heart, and an angel can bring happiness to others and make yourself happy at the same time.
After Zheng Nan failed to find his mother, Kikujiro and several other big boys tried their best to make Zheng Nan happy. They played a lot of fun games with Zhengnan, they played on the swings, they played aliens and octopuses, they played one, two or three wooden people - cheers and laughter lingered around Zhengnan and his friends, smiles on their My face bloomed, and when the movie music played, I was already in tears.
I have to mention that Joe Hisaishi's soundtrack for this movie is amazing, and it's one of my top ten favorite movie soundtracks. Putting his music and Kitano Takeshi's images together, they truly blend together and complement each other, and they both flow with a touch of warmth and emotion.
Takeshi Kitano's works are almost always extreme, either extreme violence and darkness, such as "The Ferocious Man" and "Very Evil"; or extreme peace and love, such as this film and "That Summer, the Peaceful Sea" , Maybe this is the true face of this world full of contradictions, there is black and white, there is darkness and light, there is reality and there is ideal, there is cruelty and gentleness. Some netizens commented that "I have never seen such a gentle hooligan, and I have never seen such a hooligan's tenderness", wonderful!
Thanks to Takeshi Kitano for making "Kiujiro's Summer", it is like an angel's bell, which echoes in my heart for a long time.
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