"The lake at Inari Shrine is frozen." Grandma Hatsue said this after she went out to collect her pension and entered the door.
This story begins and ends in winter. There are always some people in this world who are born in winter, grow in winter, and leave in winter. Their joys or sorrows, like the name of Hirokazu Kore-eda's movie many years ago, are "unknown".
Like "Nobody Knows", the story of "The Thief Family" was also inspired by a social news. The news mentioned that the thief family stole fishing rods and fishing was their hobby. This detail caught the attention of Hirokazu Koeda. , he felt that in a life full of holes, there would also be beautiful moments, and this was the moment he wanted to capture. Therefore, it is not difficult for us to understand why in this film, he made a sense of beauty in his poor life.
This sense of beauty is what a heart-pounding social film desperately needs. The fragility of human emotion desperately desires a balance of joy and ugliness. When grandma Hatsue went to the bank to withdraw money, she was racking her brains and reciting "Password...1192 when the Kamakura Shogunate was established", this meaningful and avant-garde sense of humor is moderately neutralized The cruelty and despair of life revealed in the film.
This is Hirokazu Kore-eda's consistent humanitarian style.
As a mature writer and director, the so-called "Hirokazu-eda model" can be clearly summed up. We, like transparent bystanders, once again walked into this special family. It is still eloquent. The various details leaked in the conversations of the characters make the audience ignorant from the beginning, gradually realize the unusualness of this family, and carefully reason about the true relationship of this family of five. One place to rule out their blood relationship: not to mention knowing the reason for the loss from the beginning, from the beginning when we gradually realized that the father-son relationship was a fake, to the sudden realization of Yaji's true identity, and finally to the surprise discovery that the original "grandmother" "It has nothing to do with "Mom and Dad" either.
We finally, like new neighbors or friends of this family, gradually came to know the truth of this family, and also understood the direction of the director's criticism. This unrelated patchwork family of thieves is the prism of almost all social ills in Japan (the world): child crime, lonely elderly, high unemployment, abandoned babies, runaway girls and pornography, class rigidity, urban loneliness Sickness, domestic violence... In the seemingly prosperous modern society, there are always some little black fish struggling to survive in the cramped tiled bath under fireworks, and the pond has long been buried by the rumble of bulldozers. .
The large area of land owned by the legendary "grandfather" has long since disappeared. The courtyard where the red carp was once raised is now overgrown with weeds, obscuring the light and shadow of the day. Japan's glory has been talked about yesterday, and this "exposed film" with a fresh appearance uses this special family of thieves to directly point to the dark disease under the splendor of modern Japan. After the Palme d'Or, Shinzo Abe, who has always been in love with the entertainment industry, did not publicly congratulate him. The director, Hirokazu Koreeda, was labeled as "smearing Japan". But these unfair treatments are just a testament to the extent to which the film tells the truth. Just as the death of the younger sister was covered up in "Nobody Knows", in this film, the body of "Grandma" was also buried under the bath in the house. However, it is wiser to expose than to cover up the ever-present social problems, and this is also the transparency that a democratic society should have.
The reality is a hundred times crueler than the movie. It is Hirokazu Koreeda who treats it with tenderness as always. This is because what this movie wants to condemn is not human nature in extreme situations, but the entire social system. It is like the age spots on grandma's legs, which requires all human beings. Solve with love. Many of the social issues reflected in the film are the same as those in China. I was thinking that if a similar film were to be made in China, it might be possible to make "The Beggar's Family". Presumably, Hirokazu Kore-eda also knew that this kind of "beautiful warmth" would lead to doubts, so "Mom" Shibata Daishin's line "How can a person who was told by his parents regret giving birth to you when he was a child know how to be good to others", It is the room he left to the audience to think.
Every family is a universe, and the recurring "marble" symbol in the film is a reference to a single family. Shota is an outcast picked up from outside the marble machine room; when Shota put the glass marbles on the flashlight, the dazzling light projected by it made Yuri exclaimed as "the universe"; at the end of the film, Back to "Marbles", Yuri went back to the house full of violence and abuse, she was in the hallway reciting "Numbers Song" silently, picking up the marbles scattered on the ground, this is tragic Repeat infinitely. In the eyes of children, even a home like a "small land" is their universe, and all the initial cognition of life comes from here. But not all homes are warm homes; not all parents can be called parents after giving birth to children; not all children can support their parents like crows. Accidents will always happen, how those with bad luck will face the "universe" that was not very friendly from birth. Everyone left tears of compassion in the theater, but the movie will always end, who can save those family victims. This is where the film really makes people reflect.
Just as the high nose bridge of the "grandma" ex-husband's family has been passed down from generation to generation, it implies the irony of class solidification. The most deadly part of tragedy lies in its heredity. "Mother" Nobuyuki and "Daughter" Yuri have the same scars on the same arm. "Dad" picked up the "son" with his real name Shota, and they were once children, and many details also show They had the same tragic life experience. When they grow up, they go astray and even commit crimes. One becomes a prostitute and kills her husband by mistake, and the other becomes a professional thief. But where is the source of their crime? in their childhood.
The interconnected, social tragedy of this world is the tragedy of everyone. I used to wonder why Hirokazu Kore-eda was so focused on "children's tragedies". In recent years, he has expanded his perspective to the problem of the elderly. The answer is actually very simple. As I said before, most tragedies of adults come from unfortunate childhood. Accidents in life can lead to deprived elderly people. A civilized society should systematically guarantee everyone's right to live, which is an unshirkable responsibility of the government and everyone. If we can quench the flame of tragedy from one end to the other, let the young be nurtured, the old have the end, and let the adults have something to fall back on, and no longer let the father in the film say "(except stealing) I don't know how to teach What are they?" If this is the case, then the negative energy of this society can be truly reduced, and our earth will be more complete.
It is Hirokazu Koreeda's script that has always been outstanding, but in his creation, it is always diminished by mistakes in casting. This is the system conflict between prose films and dramatic performances. For example, the "elite father" Masaharu Fukuyama in "Like Father Like Son" and the eldest sister in "Haijie Diary" all have serious flaws in "idol defects" or excessive performance. However, the choice of actors in "The Thief's Family" was zero mistakes, especially Sakura Ando's textbook-level performance of being interrogated by the police. The unstoppable tears and the sadness that could not be concealed through efforts made people feel Cannes owes her an actress award.
Japanese movies have always had a small and fresh mood, which is because they insist on "some doctrines", some scenery with salty sea breeze, some faint sadness, some small problems and troubles, some Japanese food, some daily life The small poetry in the novel is never excessive, nor does it fall into the ordinary reality, and reveals the deep meaning of life in the elegant. It is Hirokazu Kore-eda's films and followers of "some doctrines", but the emotions and entanglements beneath them are more intense. Like the previous films, "The Thief Family" is also a member of the group "Bad Parents" , it's just a difference in angle, no longer like the eldest sister and the little sister in "Haijie Diary", shouting "Dad is an idiot" and "Mom is an idiot" to the valley, this time, it returns to the silent trial again. It was Hirokazu Koreeda who has always been a doctor of two treatments, both causing depression (the concentration of emotions) and healing (the curative effect of the film). This time, it was Hirokazu Koreeda who returned from the private sphere of healing people to the public sphere of healing society. In addition to the magnification of the subject matter, the language and expression of the overly plain and monotonous shots in the past have also been improved to a certain extent. "Form" means a little more. Especially in the end, when Kazuyoshi Shinyo was interviewed by the police, the interview-style face-to-face presentation method was a questioning of all the audiences in front of the screen and the whole society, which made people unable to avoid their gaze and think about their tragedy. source.
Some people always compare Hirokazu Koeda and Yasujiro Ozu together. In fact, they are not much comparable except that they are "both Japanese" and describe more family themes. In most of Ozu's creations, he almost never goes out of the category of "home", even if there is a vague accusation against the times or society, it is a refraction type; it is Hirokazu-eda, but this is not the case. In most of his creations, there has been surging The accusations at the social level attribute the tragedies that happen to vulnerable groups, especially children, to the indifference and inaction of the entire society. This is the way of thinking of his activist. Ozu always shoots "family trivia" because he thinks that he is "incapable of doing anything to the society and will be shy when filming", but Hirokazu Koeda obviously arouses the public's attention and sympathy, which is to solve all problems starting point. Although both of them are writing about the "Japanese-style family that gradually disintegrated under the impact of the times", they are very different from the starting point to the aesthetic style. Although Ozu's films are generally modern dramas, his low-angle shots from tatami mats or his detailed narrative strategy are all Japanese classicism; Hirokazu-eda's films belong to the category of melodrama, which can be clearly seen. It can be seen that the tentative fusion of Hollywood narrative and Japanese style, especially in the early "Like Father Like Son" is difficult to escape the shadow of drama, and the identity setting of Hiro Abe's private detective in "Deeper than the Sea" is also vaguely revealed A little bit influenced by American noir films after the war, but Japan's aesthetic pursuit of diluting and evacuation has melted sharpness and extremes, and the exterior still shows a fresh and healing oriental sentiment.
Whether it is admitted or not, the resistance and entanglement of East Asia's progress towards a full-scale civilization are higher than most countries in the West. After thousands of years of accumulation of family-based ethics, it is very difficult to break the mantra that "clean officials are hard to break up with housework", which is the remnant of feudal ideology. Let the family itself become a collection of totalitarianism and injustice, but it is correct that the head of the family has become the generator of tragedies, and the government and social organizations should effectively intervene to prevent the spread of tragedies from the root. All this requires "outsiders" The current problem is that we do not have enough awareness to make meddling become a popular trend, and we dare not and think we should not interfere in the occurrence of tragedies. In the final analysis, this is still a problem of the overall social atmosphere, and cannot be completely blamed on people's selfishness. A perfect mechanism design should be able to ensure the invasion of these shortcomings.
Home is a small place, but every family is a folded composition of our universe. If there is a dark room universe, everyone needs to work together to open its windows. Perhaps, this can make those things that no one know about less.
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