Hey, how do you say this.
Japanese director Masaki Kobayashi (1916-1996) has made no more or less films. "Slicing the Abdomen" is a good film that is less than one after watching one, and it is worth watching over and over again. "Cutting the Abdomen" and "Strange Tale", the two Cannes Film Festival jury awards, those years (60s of last century), but great masters, Robert Bresson, Fellini, Antonioni, Visconti, Kobayashi Zhengshu is by no means a full-fledged generation, its achievements and style can be called unique.
For Nakadai Tatsuya's acting skills, he admired the five bodies. His firm determination to enter the Ii family alone, his full-fledged words, and his fierceness to test risks are all impressive. It’s incredible to imagine: at the age of 30, he finished acting as a 50-year-old ronin. Two years later, he became a pure and fearful young man in the chapter of "Snow Girl" in Masaki Kobayashi’s "Ghost Story". This kind of acting skills are really impressive. It is an invincible admiration. Before, there were "Human Conditions" and Ichikawa Kun's "Key", and then "Death Sword" and "Big Bodhisattva Ridge". It was a magical doppelganger, not to mention the "Shadow Warrior" that later collaborated with Kurosawa Akira. , "Chaos" and so on.
In the film, he recounted that stage of acting skills vividly, his daughter married for the first time, the happiness that was difficult to conceal when coaxing grandsons, and the anxiety after the troubled son-in-law's house. The beautiful destruction of the happiness of the family has driven this old Ronin to a dead end, and he can no longer miss him being independent from the world.
As Nakadai Tatsuya said, apart from the fight that emphasizes the real sense of the sword, the plot of the film is very quiet. The story of "Abdomen" is very simple, so it is very important to keep the suspense, it is not helpful to say more, it is best not to read the introduction, the feeling of the characters in the single-listening film is very storytelling.
What's so good about "Cutting the Abdomen"? First of all, Hashimoto Shinobu's script is very good. The background of the big era is interspersed with the tragedies of small people. It has the spirit of Bushido and is unconventional. The film is full of suspense and clear intentions, far from cruelty and meaningful.
Some people say that Tsumo Banshiro's reminiscences are a bit dull and wordy, but it is because his hesitation has ceased and he has repeatedly delayed cutting abdomen. The moment the facts are shaken out at the end, Yujia can't sit still. All the initiative is basically in the hands of Jinyun Hanshiro. He wants to ask for an explanation for his son-in-law, and at the same time warns the samurai who listened to him "maybe my today will become the tomorrow of someone here."
The suspense of Tsumo Hanshiro's request for a belly cut is indeed concealed-the story of Chien Chiwa's begging for a woman was first told by the old man, with the intention of exposing the "trick" of the old Ronin; when Tsumo Hanshiro asked his assistant several times to no avail, he passed him I learned that it seemed that he came to Qian Qianyan's begging for a girl because of a friend's will; in the end, he revealed the fact that his family was ruined. Rewinding the movie to the scene of cutting abdomen with a bamboo knife is really cruel to Qian Qianyan's girl (not the scene itself is cruel). Imagine the heavy burden on him, the guilt of selling swords as a samurai, and the ears of suicide. It’s no wonder that the old man could not tolerate the suffering of his son-in-law, so he used his own power to shake authority.
Tsumo Hanshiro and Sawagata Hikokuro duel for a period of grass and trees with sadness, the situation changes color, the artistic conception of heaven and earth moved by it is absolutely not distorted because of the black and white images, and it is not inferior to Lao Mouzi's ability to show his full color in the duel.
The use of narrative and narrative, smooth and smooth shots, ranging from the sliding door of Ii’s house, to the weather of the duel, the film is top level in actors, photography, setting, and soundtrack. Its main purpose is even the dignity of the samurai. It can be said to be ironic that no matter how important the dignity of a samurai is, it is no better than the happiness of the relatives. The old Ronin Jinyun Hanshiro faced a series of blows, and he was alone in a blink of an eye. He challenged the Jing Yi family's authority with his own strength and would inevitably hit the stone with the pebbles, and his deeds in the historical records were also erased. The ancestral armor of the Ii family watching from the camera begins and ends with the scattered armors. It starts with the chanting of "Ii Jiajue Shu" and ends with the record of "Ii Jiajue Shu". The content is vivid and informative, the structure is neat and perfect, and the characters are imaged. full.
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