A few days ago, I saw a report on Haruko Sugimura on the Internet, saying that Ms. Haruko Sugimura loves autumn in Beijing. After her death, she learned from her diary during her lifetime that it was also scheduled to visit Beijing again in autumn. The diary also mentioned that her eldest daughter in "Tokyo Story" was annoying. Similarly, in "Good Morning", she plays the fast-talking woman who talks on the streets and alleys, the super-old leftover girl who was delayed by her father in "The Taste of Saury", and the role of the theater owner's country friend in "Floating Grass". Not likeable. But when it comes to performance, it can be compared with Takao Hideko and Tanaka Kinyo, the two highest representatives of Japan's acting skills, but the role of supporting roles has not been given due attention. In this film, she continues to be a villain, playing the role of a professional woman who is unbearably disturbed by her parents, and joins her eldest brother to send her parents to Atami. They can also understand that what parents want is not the tired pleasure of traveling, but the warmth of being under the same roof as their children. Therefore, I repeatedly told my parents that they should be satisfied with this trip to Tokyo to achieve the effect of self-defense.
"Children will always change when they grow up. They will leave their parents and have their own lives." This is the line throughout the film. Just like the eldest brother and the eldest daughter, after getting married and starting a family, their lives have reached a certain balance. Arrival broke the balance and ended up as "King Lear". The younger daughter Jingzi's rebuke to her brother and second sister is reasonable but slightly biased. She has not achieved the balance of the family after marriage, so naturally she cannot understand the imbalanced state. In the scene of the dinner party after the funeral, the seating positions of the eldest brother and the father are reversed. This unmarked arrangement perfectly illustrates the father, the head of the family, giving up his sovereign identity after his wife leaves and the family is out of balance. As Ozu himself explained the film: I tried to describe how the Japanese family system collapsed through the growth of parents and children.
At the end, Ozu used several high-camera lenses for the first time, looking down at the track by the side of the road and the boat in the water. It seems to be a metaphor for Zhou Ji's family in the film. The middle-aged sons and daughters struggle for their careers like a high-speed train, and the slow rhythm of the elderly is like a slow ferry arriving at the port.
When I first watched this film a few years ago, when I saw the funeral dinner, I naively thought that the reunited family would find the sweetness of the past. Later, I realized that I was wrong. This time, Ozu did not have the affection of "When My Father was alive". He wanted to present the reality naked to the audience. He didn't have any regrets that he wanted to raise his son and did not wait for his father. Slightly drunk in front of the lamp and lonely.
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