There have always been two main reasons for the fear of films adapted from literary works. One is that differences in media can cause a sense of deviation. Watching a movie is mainly an advanced process. The movie develops with the progress of time. The movie itself controls the main rhythm, and when you read it, you are the master of the rhythm. The film has a relatively fast pace, and it is difficult to leave enough time for the audience to feel the connotation behind the text. The second is that the film is relatively short of space. One of the charms of text is that there is a huge imagination space when reading, creating a rich and diverse experience of beauty, and the image itself is a process of killing the space, bringing the concrete The people and scenery of people and scenery are placed in the line of sight, if the performance is too intuitive, it will reduce the aesthetic feeling. However, the appearance of "Burning" was a great surprise. Murakami's 8,000-word short "Burning Warehouse" was expanded into a 148-minute image, and the long lens used greatly increased the space. The performance in many places is rather obscure, retaining some important utterances in the original work. These hidden languages support the literary nature of the film. I personally think that the end of the completion is also very good. Murakami is a writer who pays attention to feeling and sense of collaboration. This hidden Japanese atmosphere is difficult to capture with the language of the lens. This quiet "Burning" basically did it. Direct speech is a bit difficult to start, so you might as well start with the characters. The three protagonists in this article almost support the entire film, and their performance is full of tension, especially the heroine Hui Mei. If you can completely deconstruct the characters in this film, you can basically figure out the core of "Burning". Let's talk about the three points that make up the entire film.
Point A: The person murdered by capital is a relatively easy to understand character. Murakami's novels are basically based on postmodern capitalism, and the language points to the living conditions of "urbanites". Ben is undoubtedly a representative of being alienated by capital society. He seems to have everything that people want, but he doesn't seem to feel real happiness for this. What is the "post-modern" world like? The general summary is that people are distant from each other, and people live only for the life that is close to themselves. For Ben, his life is closely related to the things of upper society: socializing with beautiful women, participating in upper-class activities, traveling, etc., these "possible things" seem to make people live a fulfilling and superior sense of superiority. He lives, but he is a mature person. He does not compare his life with others, or believes in public language. He thinks that such a life is superior and can bring himself happiness. He just has these conditions and lives. After being familiar with the social rules, he has become very tired of these stylized things, but he has to be pushed away by this kind of life. In one detail, Ben yawned twice when socializing with a group of friends, which is enough to show that he has lost the ability to get a sense of fulfillment from these "appearances." Ben challenged the so-called taboo and said when he smoked marijuana that he felt the bass sounded deep in his bones. Tortured by the appearance of life, he even needs to get "realism" through this kind of physical stimulation. The skeletal bass is a mockery of the hollowness of his own spirit, and the constant laughter when smoking marijuana is even more absurd. With the conditions, I have a lot of things, and then? Then can I be happy? Is it really sufficient to have surface communication with upper-class women every day? Of course not. The post-modern world follows the rules of finding the meaning of life by oneself. It is not accessibility, no matter how much resources he gets, he cannot have an impact on the essence of his life. After losing the sense of gain, Ben began to reconstruct his spiritual world. He obtained a vague sense of reality by "burning the warehouse". In the original text, he said: "I think there are many warehouses in the world, all waiting for me to burn them. The lone warehouses by the sea, the warehouses in the middle of the fields...Anyway, all kinds of warehouses. It only takes 15 minutes to burn. It's completely clean, it's almost as if the game doesn't exist at all. No one is sad. It's just---disappeared, suddenly." This is an existential rebellion against appearances. He wants to achieve a sense of reality through the process of creating burning warehouses and destroying social rules. Only this kind of formal destruction can satisfy himself. "Burning warehouses" is a process. The destructiveness of breaking the rules is a kind of vitality. It also follows the "natural morality" he mentioned. The naturalness of warehouses is far from the capital world. The capital world is a process of invading the human subject, and people's selves are occupied by some hard-to-see rules or entities. (This kind of "occupied by capital" has appeared in many of Murakami's novels, such as "The Story of Strange Birds" and "Dancing Dance".) Especially after possessing it, it is likely to be afraid of the infinite emptiness after "being". Of course, maybe he has never really burned it, but to create this kind of spiritual imagination is already a numb redemption for him. B Huimei's imprint on absence and survival Huimei is troubled by the sense of absence. From the later attitude of her family towards her, saying that "that child is very good at lying" can be seen that Huimei has an incomplete childhood, constantly being left out and forgotten, and lacks the support and trust of her family. In the background of the film, the relationship between people is very alienated. She is an independent woman, but she lacks a sense of reality in life, because her “part” is drawn away with the wear and tear of her self. NS. This kind of "unreality" is different from the original. Her unreality is not seen. She has been marginalized since she was a child and has accumulated a kind of deficiency. She can only establish a security system for herself by lying. The irony is that this lack and Ben's numbness all point to the same point, which is to fall into the trap of "meaningless". From not being loved to unable to be loved, Huimei hopes to make up for her lack of feeling through something, and wants to use something to prove her so-called existence value. She wants to experience, wants to grasp something, wants to go a long way to find the source of mystery. She thought of going to Africa, she thought of going somewhere to accomplish something, and wanted to get the truth by getting the mark. She went, she told Zhong Xiu that she saw the sunset in Africa, and then there was nothing. After completing the goal, everything will still end, the mark will be washed away, and it will end anyway, what reason is there to continue? Hui Mei cried in front of Zhong Xiu. Later she did an African dance, which looked ridiculous, but she did it anyway. "Let me show you how Africans dance. I have been there and I learned to show you." After dancing a dance, I found myself still the forgotten incomplete person. Dance is just a representation, a real phenomenon, but behind the phenomenon, the world of meaning is silent. The ridiculousness of dance is opposed to the absurdity of reality. Showing dance is tantamount to showing the futile and meaninglessness of resistance. At the beginning of the film, the pantomime about peeling oranges is a foreshadowing of meaninglessness. Without oranges, it is a pantomime to face oneself alive. Stay here or walk away, the result is the same. Is there that well? Has she ever fallen? I tend to not have it, just like there is no cat. This can only show that she has a deep vacancy in her heart, and she must create some spiritual sustenance through the establishment of language. But it is certain that Emi loves Jong-soo. Emi was ridiculed by him when she was ugly and went to plastic surgery to prove this. Why does Huimei love him? This question is a bit complicated and will continue to be discussed below. Huimei is definitely a charming woman. The negative and morbid beauty she showed in the film makes people constantly recall the son in "Norwegian Forest", especially the nude dance, which is her most futile resistance to appearances. . The most regrettable thing is that no one can save her. She has been stuck in her own well, and Zhong Xiu has not been able to see her. C: Observer of Zhong Xiu's objective world Our male protagonist is not as spiritually extreme as the first two, but is the "the loner" in the film. The entanglements that happened in his childhood made him subconsciously disgusted and tended to choose to avoid interpersonal communication, but he was a "relatively normal person." Just like every Murakami-style male protagonist, he has not been overly entangled with pain and alienation, but also has a unique sense of loneliness in his heart. This sense of loneliness makes all his behaviors have some unspeakable abnormalities. Zhong Xiu said that he likes William Faulkner. Faulkner's field is people and destiny. Zhong Xiu said that he likes him because he always feels that the story inside is him. Zhong Xiu is an ordinary person. Although he is immersed in inaction due to his own conditions, he still silently expects that he can overlap with other people's stories, or find a sense of substitution through writing. Maybe he could really become an ordinary writer, weaving his destiny into words and telling stories to others. The turning point was when he met the woman and his destiny was completely changed. He saw the extreme morbid beauty and the human gap. He thought he had grasped the peaceful love, but he didn't know he had fallen into her trap. This trap is that it is inherently difficult to understand between people. Before experiencing the "event", the difference between him and her makes it impossible for them to truly understand each other. This obstacle will eventually make him lose (we will continue to talk about this below)
From a big perspective, Zhong Xiu is definitely a victim of cold violence in this cold capital society. Being treated indifferently by my family, I live alone in poverty. Although he did not have a high degree of obsession with owning anything, he still dissatisfied with accusing him of "Gatsby of Korea" after entering Ben's room. He is not a material predator, but he will still be disturbed by the outside world. He is envious of those who have money and time to travel. Like every person wandering in the city, he has his own independent spiritual world, but he is still affected. Dominated by capital rules. He has set off from this shore but failed to touch the other shore, struggling constantly between the two sides of the strait. Zhong Xiu fell in love with Huimei during her communication with Huimei, and kept looking for her footsteps for a long time afterwards. It's a pity that he didn't really understand Emi at the beginning. He questioned why Emi would be with Ben, and compared her behavior of undressing and dancing with a "prostitute", which can tell the distance between him and Emi. Huimei knew this too well, and disappeared into his world with pain. Zhong Xiu has always wanted to confirm the authenticity of Jing’s existence. This can be seen in Zhong Xiu’s "ordinary". He always thought that only when he really saved Hui Mei, could Hui Mei really fall in love with him, so he found Jinglai confirms Emi's love. But the affordable beauty was mentioned at the beginning, is there any difference? (Personal opinion): The love that Huimei wants is the kind of complementary love. She must have fallen in love with Zhong Xiu when she was a child and connected him to a certain part of herself. Rescuing her from the well was just a metaphor. Her lack made her believe that Zhong Xiu could bring her salvation. Her feelings for Zhong Xiu were mixed with her stubborn belief. Ben said to Zhong Xiu that Hui Mei regards Zhong Xiu as a special existence. I think Hui Mei regards Zhong Xiu as a kind of support and self-certification. This "self-like" love has led to her unwarranted trust in him. In the end, Zhong Xiu's killing was originally an original plot, which added to the tragic character of the whole story. Ben’s existence is indeed constantly squeezing Zhong Xiu. His possession and plundering, his stability, and his ugliness for destroying order make Zhong Xiu feel deeply angry. The most important point is that Ben’s self-cannibalization is at the same time. After eating Huimei, Zhong Xiuyi chose to kill him without hesitation. This murder also metaphors the impact on the capital world that controls the subjective meaning of people. To a certain extent, Zhong Xiu is trying to murder this degenerate meaninglessness and liberate his individual vitality from it. It can be said that the existence of Zhong Xiu's role not only gives people a sense of substitution, but also clearly reflects the madness of the other two characters in this world. Zhong Xiu is the eyes, maybe our eyes, watching the deduction of the objective world quietly, the fall and madness of people are still being played out, do you want to watch the warehouse and its meaning turn into ashes? The interesting thing is that with age, the sense of meaningless distance becomes more and more obvious. Although the "relationship society" we live in has always wanted to get rid of, the postmodern society that is highly capital-intensive is also like hell. Our desire to connect, if not true, is vital to our lives. Postmodernity is a world with dual meanings. The so-called modernity allows the three of them to move outside the community. Your independence and freedom will also bring about the destruction of meaning, and the warehouse will eventually burn out. How do you want to resist this world? It doesn't exist. Do you know? Speaking out may surprise you, I really believe in the existence of love, don't ask me why. The interesting thing is that with age, the sense of meaningless distance becomes more and more obvious. Although the "relationship society" we live in has always wanted to get rid of, the postmodern society that is highly capital-intensive is also like hell. Our desire to connect, if not true, is vital to our lives. Postmodernity is a world with dual meanings. The so-called modernity allows the three of them to move outside the community. Your independence and freedom will also bring about the destruction of meaning, and the warehouse will eventually burn out. How do you want to resist this world? It doesn't exist. Do you know? Speaking out may surprise you, I really believe in the existence of love, don't ask me why. The interesting thing is that with age, the sense of meaningless distance becomes more and more obvious. Although the "relationship society" we live in has always wanted to get rid of, the postmodern society that is highly capital-intensive is also like hell. Our desire to connect, if not true, is vital to our lives. Postmodernity is a world with dual meanings. The so-called modernity allows the three of them to move outside the community. Your independence and freedom will also bring about the destruction of meaning, and the warehouse will eventually burn out. How do you want to resist this world? It doesn't exist. Do you know? Speaking out may surprise you, I really believe in the existence of love, don't ask me why.
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