Jin Min's movie, the first one I watched was "Millennium Actress", then "The House of Weima", then "Red Pepper", and then this "Tokyo Godfather". Now only "Delusional Agent" has not met. I finally understand why he died so early. The old man of God must be afraid, afraid that Jin Min has tossed all the tricks of film art alone, so he can't wait to recall him from the world to heaven.
In the short life of the master, the energy released by these five films alone makes it hard for me to imagine - if Jin Min lived longer, what kind of weird and surprising films could he play. In his hands I saw that the film was alive, I felt the life of the film for the first time. Marvel at its variability and plasticity. Movies are the same as dreaming, how to do, what to do, what to do first, what to do after...all are at your own discretion. It's incredible, it's the art of waking dreaming.
And Jin Min is the most rogue adventurer in this art of waking and dreaming. Some people are obsessed with the conveying of the story, some are obsessed with the shock and awe of the story, and Jin Min is obsessed with telling the story itself. This is evident in The Godfather of Tokyo.
Hana-chan has a saying that is right, "Qingzi" is a Christmas gift from God, a gift. Because of this abandoned baby, the three embark on an absurd and comical adventure. If every movie has a character, "Tokyo Godfather" is more lively and naughty than Jin Min's other movies. Jin Min also uses such an atmosphere to tell the story of three homeless people with different personalities.
One of the things that amazes me is that Jin Min has tried a new way of interpretation. Maybe I was ignorant and didn't know there was such a novel way, but I was really surprised by the idea. When watching "Tokyo Godfather", I wondered why many characters in the play have the shadow of Lao Jin. I even have a nervous suspicion - this is a time-travel drama, and Lao Jin is sent back to experience various periods of his life as a third party (covering his face and laughing cry). But this idea was quickly dispelled. Although the dead old wanderer is like Lao Jin's old age, although the husband of Sachiko who stole the child made the same mistake as Lao Jin, although Lao Jin's bullshit excuses fit the old doctor who is about to marry Qingzi, but they are in There are three separate individuals in the film.
I can't understand, since these are all three different characters, why should such a coincidence be arranged. Later, I suddenly realized that Jin Min only used the sentence "Ah, I seem to know me well" to turn the past and present of these characters into Lao Jin's past and future. He is trying to describe a person by borrowing a type of person! Indeed, as an audience, I also did a good job of bringing the experiences of these three characters into the role of Lao Jin, acquiescing to his past. This bold design really makes me stunned and ashamed.
There is another point, I don't know if it is my over-interpretation. At the wedding of the eldest daughter of the gangster, he introduced to Lao Jin that his daughter's name was Qingzi. Don't you think the name "Qingzi" appears too many times? Later, Jin Min gave an answer at the end of the movie. It turned out that the name of the daughter that Lao Jin was thinking of was Qingzi. So I think it's probably no coincidence that the gang boss has the same name here. Maybe his daughter wasn't named Qingzi at all, but because Lao Jin fantasized that what he saw was not the wedding of someone else's daughter, but his own Qingzi's wedding. (It can also be said to be a hint given by Jin Min) Jin Min wants to use such a bizarre method to tell the audience two things: Lao Jin's daughter is still alive, and Lao Jin dreams of seeing his daughter's wedding.
However, as an absurd comic comedy, at the end of the movie, Lao Jin can indeed get what he wants.
Ashamed to say, before I came into contact with Jin Min's film, my impression of the film was stereotyped. After coming into contact with Master Jin Min's movies, I realized that movies can be so colorful and endless. Jin Min is a prodigy. God gave him a pair of magical hands, and he can create countless beautiful and strange dreams. Later, God found out that the magic hands were too powerful, so he hurriedly took him back.
Movies shouldn't have a single evaluation standard, who would evaluate other people's dreams?
View more about Tokyo Godfathers reviews
