Incredibly, it's incredibly relevant when used on 11-year-old Baroma.
At the age of 11, she knows a lot of things, such as painting, paper-cutting, photography, and a pair of clear and translucent eyes. Through the lens of the camera, she can see the chaotic world transparently. She said that while her mother received psychiatrist treatment for ten consecutive years, she also took anti-stress drugs for ten consecutive years. The inevitable connection between the two was ignored by everyone, and her father was stunned. She loves the Chinese game of Go deeply and understands its true meaning: "The most powerful thing about Go is that you have to survive to win, and you have to try to keep the opponent alive too. Life and death are only the result of good or bad layout. good layout".
11 years old, after all, still 11 years old. Knowing Go, but unable to translate its true meaning to life. Baloma sees the secular and all-labeled adult world as a goldfish bowl, in order to avoid hitting the same glass repeatedly and being trapped in it for life, after "deliberate", she makes a horrific decision : On my 12th birthday, I cut myself off. She drew 165 squares on the wall and recorded her mood each day thereafter.
Baloma chose death in order to avoid pain, so he would not choose a way of death that would cause pain. She takes one, sometimes two, a day from her mother's anti-stress pills, and after 165 days, should be enough to send her to the kingdom of freedom she wants to go. She is dissatisfied with reality, but she may never think about what death is.
In the 16th arrondissement of Paris, inside the rich man's mansion, the neighbor Alden died of a heart attack, the body bag passed in front of Baloma, she held her camera, expressionless and indifferent: spending time in a goldfish bowl Her whole life ended in a body bag, this was not the life she wanted.
The cat in the porter, like Baloma, who is holding a camera, appears out of place, and she is sent to take the cat away. So she had another chance to walk into the concierge's hut and use her camera to point at Junichiro Tanizaki's "Praise of Shadows" on the table, the rich dark chocolate and the elegant tea set. With a glimpse, she noticed the difference of the concierge Honey, "She reminds me of a hedgehog, covered in thorns, a fortress like a fake, but I feel like it's just pretending to be lazy on purpose, but it's actually like a hedgehog at heart. Delicate, solitary, and impossibly elegant, that's how she described Ha Neul in a later conversation.
Everyone calls Honey as Mrs. Michel, so let's hear how she describes herself.
Facing Baloma's camera: "My name is Honey, I'm 54 years old, I have been a concierge in Paris for 27 years, this is a luxury building with only 5 houses, each house is occupied, and each house is very big. ." - Let her talk about herself, and in less than two sentences, she will turn to other people, maybe in her, she is so insignificant that she can be summed up in one sentence. Under Baroma's urging, she continued - "I am a widow, short, ugly, fat, with calloused feet, and sometimes wake up in the morning with a mouth that stinks like a mammoth, I have never been to school, I have always been poor, unremarkable, insignificant, I live alone, I have only a fat lazy cat with me, this cat has only one characteristic, when he is in a bad mood, his paws stink. I I'm not amiable, but polite, and I'm not likable, but people can bear with me because I'm exactly what everyone thinks of as a concierge: old, ugly, grumpy, and glued to the TV In front of the machine, on a throw pillow with a knitted pillowcase on the side, there is a fat cat snoring, and the smell of assorted casserole is overflowing, well, you know everything." - "No, I don't know everything", Baloma moved the camera and aimed at the closed door.
Even if it had never been opened to Baloma, Baloma could have painted it imaginatively just as well: three walls were hidden behind the towering bookshelves, and the books were lined up closely on the shelves. Leaning against the bookshelf, a fat woman was sitting on a chair, flipping through one of the books... Baloma was just like what she described as Honey, her heart was meticulous and elegant, and they were like bosom friends.
Without Ozu, Baroma and Honey are just guarding two parallel lines of their own loneliness, and it is difficult to have an intersection.
Ozugero has the same surname as the director Yasujiro Ozu. One day, when he was about to take the elevator upstairs, he saw Baloma who was rushing up the stairs and invited her to take the elevator together. The first time they met, two people with an age gap of four or five years had an exchange on Japanese learning and won a good impression of each other. Baroma, who has always been arrogant and indifferent to the outside world, is not only thoughtful and polite in front of Ozu, but also the girl's cuteness is naturally revealed from time to time. A few days later, Mr. Ozu visits Baloma and makes the girl smile one of only two times in the film.
Ozu's two cats are named Anna and Lev, from "Anna Karelina", while Baroma's cats are named Constitution and Parliament, and Baroma complains: "You see what family I'm from. Right! Our two big fat cats, stuffed with high-grade meatballs in their stomachs, are hanging out on the sofa, and the whole house is covered with hair." Ozu's answer was unexpected: "I'm sure they are different. I believe in the detached beauty of birch trees, so I also believe in the detached beauty of cats." Perhaps it is his attitude of appreciation and respect for nature and life that makes him no matter how much he treats an 11-year-old furry child Loma and the unremarkable concierge Honey are all equal and friendly, and only have the opportunity to discover their elegant hearts hidden under the protective layer of hedgehogs.
It is also "Anna Karelina" that built the bridge of love between Ozu and Honey. "Happy families are very similar to each other, but the misery of unfortunate families is different." In one sentence, Ozu recognized Hani as a bosom friend.
Honey is very hesitant about Ozu's warm invitation. For decades, she lived in her own lonely world, felt inferior in front of others, and disguised herself with what others thought of her. Only when she faced the world of books, did she get a spiritual wandering.
Two conversations with Ozugerang about herself can fully reflect her inferiority and confinement:
the first dinner together:
"I live alone for a long time, never go out, I am afraid I am not sociable and a bit barbaric."
"Very civilized barbarian "
You don't need to give me those two books."
"Do you like it?"
"I'm very happy, but also very apprehensive. I want to keep a low profile and don't want to cause trouble. No one will use a pretentious concierge. "
You're not pretentious, you're just curious."
I really like Ozu's phrase "Do you like it?", ignoring class, wealth, and worldliness, and just caring about personal feelings. Everyone should put personal feelings first, not live in worldly stereotypes.
The second time is about Honey's family, and it's the first time Honey talks about her family in the film.
"I don't have children because I haven't given birth yet. I've been a widow for 15 years, and my husband is Lucien, who also has cancer."
"I don't know."
"You don't know. No one told you. My husband is sick. No attention has been paid here, Mr. Alden's death was a big deal, but the concierge's death was just a trivial matter in daily life. I lived alone for a long time and never went out, so I'm afraid I'm not very social and a bit savage."
"Very civilized . savages.”
The life and death of the rich are a big deal, but the life and death of the poor are trivial. Is that right? The film here borrows Honey's words to raise Baloma's confusion about death.
"Honey, we can be friends, even everything we want." When Ozu sent a message of love to Honey so bluntly, Honey flinched. But the last line of defense collapsed under the pressure of Baloma, she hugged Baloma and burst into tears. Baloma painted Honey's tears in the squares that day. And Ha Ni was washed with tears, broke through the shackles of thought, and happily went to Ozu's birthday appointment.
Holding Ozu's hand, Honey was actually called "Mrs." by Baloma's mother. Honey, who was not recognized, exclaimed, and Ozu just said lightly, "Because she has never seen you well." (There are not many Ozu lines in the film, but I like none of them.)
"What matters is not death, nor how old you die, but what you are doing at the moment of death." Holding the camera all the time, taking pictures of the inexplicable mother through the water glass, an inexplicable mother who can talk about plants but neglect to respond to her daughter's goodbye, photographing the pictures of all beings under the dining table, the feet of the gentleman who escaped from the shoes Ya, the hand of the lady who secretly feeds the cat food... all she wants to do is make a movie where life is so absurd. At the same time, she often imagined different ways of dying, pretending to have a heart attack by jamming her throat on the stairs, imitating abdominal incision in the bedroom, crawling out the window to see the scenery she saw before jumping off the building... It seems that there is no better way to resist Compression is better.
While Ozu and Hani's relationship is developing on a normal track, Baloma's death covenant is also approaching. One day, looking in the mirror, Baloma played her mother and repeated a passage of her words, "I often had the same dream at that time, I lost my teeth, my teeth turned black, and they fell out one by one, you know the psychiatrist How do you say it? Dear madam, the Freudians would say that you dream about death, it's incredible, right?" Looking at himself in the mirror, Baloma suddenly pressed his cheeks hard, exclaiming, What the hell is death!
I gave the goldfish in the goldfish tank an anti-stress drug, and soon, the goldfish turned up its white belly and was flushed down the toilet by Baloma. Honey on the first floor was changing clothes in the toilet when the camera suddenly stopped, and Honey bent over, never expecting Honey to scoop out the goldfish that Baloma "killed" from the toilet...Upstairs, Baloma Preparing the powder, wrapping it in cloth and crushing it...
Honey was in a good mood, put on a shawl, and went out to take out the garbage. She seems to be a different person, full of confidence and yearning for the future life...
"Champier, don't stay in the middle of the road."
"Miss Michel, your cat is lost again?" Champier is still on the street Dance in the center. The camera zoomed out suddenly, a car was speeding, and Honey was ejected a few meters...
Before dying, Honey had a thought monologue: If I could, I wanted to laugh, but I was thinking of Manula, she would be killed by the laundry The pickup truck hits me, blames myself for the rest of my life, punishes me for stealing clothes, it's stupid, I still want to laugh, death makes a mess, Grand, my heart is like a curled up kitten, I want to drink with you at the end A glass of sake, how to define the value of life? Baloma, may your future match your expectations... Her consciousness fades away. Ozu put a piece of clothing over her...
Baloma was stunned for a while when she heard the news, and walked to her room, leaning against the door and sobbing. Suddenly she remembered something and ran downstairs to look at Holly. Ni was carried away by the car...
you momentarily, she vaguely understood: it was like this, everything came to an abrupt end, is this death? You will never see the person you love again, and the person who loves you will never be seen again. If this is death, it is really a tragedy as everyone said. What matters is not death, but what we were doing when we died, Honey, what were you doing before you died? You are ready to love.
Since the important thing is not death, but what you are doing at that moment, why should Baloma focus on this unimportant ending. Baloma looked at the escaped goldfish and muttered that she didn't understand the hint, but we all know that Baloma chose to live.
The Baloma in the film is a very beautiful girl with slender legs and stylish clothes. Curly hair, wearing glasses, she likes to put the glasses on top of her head like sunglasses every time she is filming. When she was ordered to stop filming by others, in a panic, she had to take off her glasses, and every time she had a lot of hair attached, the more urgent she was, the more her hair was tucked in, and she couldn't get it to the point... This detail is very cute. Although the film is a literary and artistic film, it is well shot, and the structure, characters, details, and clues are all stretched and decent.
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