I think, maybe we always have a little bit of a little complex, it is about love letters, about secret love, about small conflicts, small reluctance, and small hypocrisy. All of this is a small symbol, like the Fujii tree (male) when he was young and like the Fujii tree (female) when he grew up. His childhood crush, our reminiscence is like water.
The memories of the past are always unbearable, and once the memories become irreparable thoughts and entanglements, some people are trapped in it, unable to extricate themselves, and some people let go of the past. But we can't stop the steps of looking for a lover, even if he has been gone for many years, as long as we never face the reality by ourselves, no one can force us to let go, and no one can harden a departed person from our hearts dragged away. You can't do it, and I can't do it either. Don't think that the bystanders are clear. We are equally addicted to the past. Don't think that we are different, and don't think that forgetting the past is worth showing off, and it is worth being called "detached".
As long as you are alive, there is not a day without memories. Finding one's own past is considered one of the hundreds of ways to seek self-solace, and it's been tried and tested. In fact, it's just a little trick for us, a group of mortals who have been abandoned in the world. Occasionally playing a little smart, it means how can't be underestimated, how great, how lofty, in fact, we are so weak.
You will be willing to keep a person's memories, there is always a space that is not realistic and not a dream, don't laugh at Bozi's little tricks, don't think she is just a woman who doesn't want to accept reality, when the camera gives Bozi a bridge hole with a snowy background In the silhouette below, when the camera is pushed to the head portrait of Fujii (male) in the graduation album, it seems that Hiroko's heartbeat has entered everyone's heart. The almost stopped heartbeat completely gave a story to the beginning. The person who has left, he left our sight before he appeared, let us guess, let us imagine, ponder, and reminisce. So we were led by the director to the little nose, and we fell into memory step by step. No one could resist this confused skill.
We are really a bunch of vulgar little people who are always indulging in memories, because Aibo, this child who never forgets Fujii, this thief who secretly wrote the address on his arm, she wants to greet heaven and she has left Her fiancé, all she wanted to say was a lavish greeting, "How are you? I'm fine." In the end, she just wanted him to know that she was fine because she could miss him. After all, it's been too long, three years, she almost forgot the feeling of missing. So in the last scene, the director made Hiroko face the vast expanse, the snowy mountain that took Fujii's life and shouted, "How are you? I'm fine." Maybe in such a quiet way, in the end, I really sent away the Fujii tree that Hiroko was reluctant to give up, and sent away the snowy mountain that accompanied Fujii tree's soul. At this moment, silence is better than sound. Because of Bozi's call, the mountains and forests are even more silent and silent.
On the other side, Fujii (female) on the hospital bed said, "How are you? I'm fine." The camera switched back and forth, it was the echo of the soul, because of the strange letter from the strange woman, it was opened and closed. Years of "little tricks" - a pure, clever and clumsy "little miracle" - that touches the secret love emotions buried under the little contradictions, the little embarrassment, and the little revenge.
After many years of calm, he finally turned the page with the calm and stormy waves, and took out a small seed that had been buried for many years and hadn't sprouted for many years - a borrowing card with a picture of a young Fujii tree. It's just the last trick of the boy Fujii (male), maybe the last "trick" in his entire life, or the first and last "trick" in his entire love life. Since then, whatever he's been through doesn't seem to matter, it doesn't seem to matter to us. The only thing that matters to us is the love, regret, and miracle that we have had a taste of. The beginning of everything is curiosity, the emotion of love, and the little game of death and survival. It doesn't matter what he gives us, anyway, in the end Always indulge in the young face of Fujii Tree when he was young.
In many afternoons filled with the warmth of the stove and the afternoon sun, or in many intoxicated nights, Fujii Shu forced herself to recall those insignificant memories that belonged to a long time ago, and even these memories made her feel puzzled and unhappy , I don't know why she is willing to tell such a little story to a strange woman, and what kind of power makes her insist on herself, I don't know, can it be regarded as the leaving Fujii tree for two This girl's little trick, I don't know if it is caused by the similarities between Fujii and Watanabe Hiroko. Maybe this is one of the characteristics of Japanese literature and movies. They are always soft and slow, tepid and tepid. Connect the whole world. This can't help but remind me of those cinematic descriptions in Yasunari Kawabata's "The Dancing Girl of Izu". The descriptive features of Japanese literature have influenced the formation of the unique image style of Japanese films - soft images, gentle music, the whole film The tone is based on a level that is as calm as water and hidden waves.
Some people say that among Asian movies, Japanese movies are the best. When Korean movies always hit people's fragile nerves of pessimism, Shunji Iwai's "Love Letter" can no longer be described as a beautiful tragedy. In fact, there is no one. Movies are absolutely tragic or comedy, and in the face of a classic movie, what kind of genre it belongs to is almost a trivial trick. Japan is a European country that believes that it was born in the wrong place, and it is not difficult to see that the development of Japanese films is linked to the development of the art of montage.
From the beginning of Japanese films in 1896 to the 1990s, Japanese films experienced a stage of rise, decline and recovery. In the 1990s, Japanese films recovered, setting off a huge "Japanese New Film" in Asia and even the world. sports". In addition to the older generation of directors such as Imamura Shohei, Xiongjing Ke, Shinoda Masahiro, etc., who continue to produce excellent works, a group of young and middle-aged directors such as Kitano Takeshi, Iwai Shunji, Zhou Fangzheng, and Takenaka Naoto have also begun to be recognized by the world because of their excellent film works. Know. Among them, Shunji Iwai, who is known for his fresh and unique images and delicate and rich emotions, can be regarded as a leader among the younger generation of Japanese directors. "Swallowtail Butterfly" (1993) "Love Binding" (1994) "Love Letter" (1995) Short Films "Dream Traveler" "April Story" (1998) "All About Lily Zhou", made him a favorite for the younger generation A well-known and loved up-and-coming director.
Delicate is a synonym for Shunji Iwai. Almost everyone who has seen "Love Letter" will think that this way of narration is too slow or even procrastinated. This is very different from American movies and European movies. When the whole Western world When all are fast-paced and fast-cut, Japanese films have developed into a unique film style force due to the support of their oriental cultural heritage.
Many times, I prefer to enjoy a Japanese movie with my heart, rather than paying too much attention to a certain scene or a certain clip, because those classic movies always affect people's subconscious minds inadvertently and without intention. The things in the film give people subconscious psychological hints, and move and touch people. It seems that words can't fully explain it, and no one can change the camera and write it down.
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