The story is very simple. Like many action movies of the same type involving the underworld, the ultimate goal of the action is revenge. The "blind man" Zatoichi played by Takeshi Kitano is shouldering the mission of eliminating violence and avenging the "good" who forced him to become a geisha.
The rhythm of the film is well grasped, and the duel between the samurai is especially beautiful. The static composition is surging with infinite tension—both sides of the duel carefully speculate on the opponent’s footwork and knife skills—the atmosphere hangs on a thread, and when the string is loosened, it turns to the dynamic hand up and down, "spike" about a dozen. Murderer. The sensory stimulation caused by the flesh-and-blood realistic sound effects makes two wars. In the casino, Zato City removed the waiter's wrist in a thunderous manner, and the slow motion tracked the wrist that was three feet high, and the blood that followed embroidered a beautiful arc in the air.
In this movie, where plasma seems to be unnecessary, the idea of the Japanese towards Buddha is reflected everywhere: Bodhisattva and white lotus painted on wooden pillars, lotus lamp in courtyard...In the retribution of wrongs and the cycle of cause and effect, the blood splashing is like red lotus everywhere. In the picture, the motto of "put down the butcher knife and become a Buddha" is still used in a static and ethereal way. For example, in the passage where Zatou City killed the silver storehouse and the fan house and the men of the full house without leaving a piece of armour, the blood sprayed out with the light of the knife, and the background of Zatou City showed a holy and flawless white chrysanthemum; After borrowing the sword of a dead samurai, the city throws the sword into its sheath and returns the property to its original owner, respecting the samurai's dignity that the sword shares the fate of man. Both rigidity and softness, surplus in a room, the national totem of Japanese chrysanthemum and sword is vividly displayed on the screen. This is probably also the reason why the film, which seems to smell of blood, does not make the audience disgusted and nauseous but feels beautiful.
"Zatou City" is not cold to the end. On the contrary, it focuses more on the details of everyday life of ordinary citizens, folk customs and folk customs, and reveals a silent warmth: between Mrs. Mei’s aunts and nephews, and between the sisters and brothers who are forced to pretend to be geishas. Between the ronin husband and wife who are desperate to treat their wives as bodyguards. For example, on the night of the confrontation between Ronin and Zato, the wife knows that her husband is not an opponent of Zato, so she puts on the mirror and puts on makeup in the guest room alone, preparing to die in love. Here the director cleverly uses parallel montages to narrate the loyal love of life and death: the confident arrogant ronin was killed by Zatoichi, and fell to the ground instantly; the scene switched to the ronin wife who killed herself with a dagger, shooting from the top, gradually zooming out, and the woman alone. Falling down in the room, the blood flowing out of the abdomen pours into a gorgeous red lotus, which blooms quietly in the center of the white tatami, creating an oriental and nirvana tragic beauty; the camera switches to the beach again, and the ronin’s body is pushed by the wave. Rubbing, about to swallow.
The film is even full of funny elements. Although it appears in such a heavy-themed movie, there is no sense of disharmony or out of place. This is largely due to the rendering effect of the soundtrack. The sound of the four farmers hoeing the fields in the beginning, and the same four farmers dancing in the muddy fields in the rain like witches praying for rain. At the end, the artisans who rebuilt their homes sharpened their knives, all stepping on the soundtrack. The rhythm of life emphasizes the strength of life and the endless life. Even the footage of Mrs. Mei's nephew practicing martial arts has a funny percussion. At the end of the film, the modern atmosphere of everyone dancing Japanese tap dance and musicians hitting Japanese drums made the audience experience 115 minutes of tension and laughed.
The suspense setting of the film has unique oriental characteristics: who is the boss behind the murder of the geisha's family? The film clearly pointed out the boss from the beginning, but it was always shown from the back. This looming feeling made the audience tickled. It is known that the name of the boss is Akira Kuji, which means snake in Japanese extension. So the director consciously guides the audience to participate in the narration of the film, analyzes and speculates on the mastermind behind the scenes. The bosses with snake tattoos on their arms and back were found one after another, but all the previous guesses were overturned by the appearance of the latter suspect. In the end, the boss is truly hidden in the city. He deliberately tried to conceal his true identity and hide himself in an inconspicuous little role. However, the master is worthy of being a master. When the two sides (Zatoichi and Akira Kuji) confronted each other, they said that they had first contacted each other and realized the strength and details of each other.
In the end, Zato City wandered around the world and abandoned the pretense he had always been-it turned out that he was not blind, but just a cyclops with glass eyes, and forcing himself to act like a blind man made him feel delicate and sensitive, and he was invincible. The secret. As a result, Zatou City walked at night with his eyes open and was tripped by a mere stone. The camera freezes in close-ups of the exaggerated and embarrassed face, consistent with Kitano's humorous style.
"Even if I open my eyes, I can't see anything."
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In fact, through this film, Chinese films should receive some inspiration: how to integrate the essence of national culture and national characteristics into the film. Rather than being subjugated to the standards of the Hollywood film industry and blindly flattering foreigners, the result is that a large number of Chinese audiences who are familiar with the cultural connotations have been lost, and the expectations of Chinese movie fans have been severely hit.
Zhang Yimou’s "Hero" at least shot the etherealness of Chinese classical aesthetics and the trade-off between the "big self" and the "small self"; but after four years, although it was claimed to be the Chinese film with the largest investment amount as of that year, "Full of Golden Armor in the City" has been reduced to a purely junk commercial film made of gold, which is not pleased inside and out. On the other hand, South Korean Lin Zemin's "Chunxiang Biography" and "Drunk Painting Fairy" were invited to participate in the competition unit of the Cannes Film Festival. And Japan’s "Midnight Ring" series represented by Takashi Shimizu blows the ghost wind of the East, the wind gusts, and continues to blow to the other side of the Atlantic Ocean, giving a hound the insight into business opportunities. Hollywood is willing to copy the American version-just the protagonist. His skin color has changed, but the plot remains unchanged-"The Complaint". This is what we need to push the local culture overseas to form an anti-dumping trend, and at the same time induce Hollywood-led overseas film companies to buy our creativity in turn. Cultural aggression is not a new situation, but as far as China is concerned, the film industry in particular still lacks the ability to resist, or even has almost no qualifications. Disney's "Mulan", DreamWorks' "Kung Fu Panda" and so on are actually from Hollywood, which is enough to make people ashamed and sigh. I don’t know which folklore we’re blind to will be drawn from in the next movie, which will trigger a global box office peak. In the five thousand years of Chinese culture, no one can take a drink.
Someone once said that if local movies lose even their originals, all that is left is dirt.
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