The re-screening of "Love Letter" is one of the few reasons why people can enter the theater this year. Like "The Lord of the Rings", the tone quality of 20 years ago is also invincible in the same period movies, perhaps more similar Yes, both of them are regarded by domestic fans as model students of romance and fantasy films because of their apparent styling temperament. The exquisite narrative shell is always charming and sometimes charming. "Love Letter" actually hides an irrelevant emotional core under the narrative shell. It can also be said that "Love Letter" is not a real love movie.
With today's latest notion of love in gender narratives, it's rife with many uncomfortable character interactions, but the library card of the ending can still move audiences two decades later, and it's clear this emotional resonance doesn't need to be. depend on love. On the contrary, the design of the library card can best express the fetish emotion that it wants to convey, which is similar to "Spiritual Journey" that separates things from time. In the previous time, Fujii Tree (Male, hereinafter referred to as Fujii) was a hazy distant mountain, a tree in the courtyard, a sculpture half-covered by floating window screens and sprinkled with sunlight. At some moments in his memories, he was just an empty and floating window screen, like the tree in the courtyard became the connection between the tree and the things of the deceased father, the library in the memory is also the connection between her and the missed lover, but the memory is how much It is fluid and uncertain, so it is only natural that letters become the memory carrier of reality, such as projection on light.
Although Bozi wants to write a letter to the lovers in the kingdom of heaven to resolve her thoughts, perhaps Shu is looking forward to a container that can carry her hidden emotions and memories. Letters are an explicit external technology here. No longer responsible for the current communication between people, Hiroko and Shu do not love and be loved, nor do they have real communication and will to understand each other's present, even the urge to tell Fujii's passing has been suppressed, Bozi didn't want to interrupt Shu's memories with his own hands, and Shu was just immersed in the past with no obvious connection to the present. Letters are used as a means of confirmation. The unstable, unclear, and time-flowing factors of consciousness and memory can be confirmed and recombined here, not only for trees, but also for Bozi.
Hiroko's motivation for writing the letter was to miss Fujii, but it brought uncertainty about her love with Fujii. When this uncertainty reached its peak, she heard the driver say that you are the same as the last passenger on the Otaru taxi. It is very similar to seeing a tree on the streets of Otaru but not seeing him. The surreality of the latter part - Hiroko saw the tree, and the tree did not see Hiroko because of the crowd that suddenly broke into the picture. It can also be seen as Bo Zi's imagination of the previous bridge - self-confirmation in the conscious mind. Hiroko's re-affirmation of love is much more secretive than that of her, and perhaps her faith still exists, so a very subtle connection can summon her back: in the wooden house in the snowy mountains, Hiroko was slightly surprised when she heard the song that Fujii hummed before his death, Fujii's usually indifferent songs were left at important moments. You can guess from Hiroko's reaction that it was a song that had proved the existence of their love in the past, or that Hiroko liked it. Hiroshi, who received this information, was at a time when she was about to deny her past love and was unprepared. The next morning, she was willing to take a few steps to the snow mountain and shout to Fujii. Emotional release allows us to confirm the guesses of the previous night. Shouting to the snow-capped mountains that are still singing in the empty valley is Bozi's confirmation method. If the tree on the hospital bed can respond, it means that a letter written by Bozi to heaven can be answered. An ingenious intertext, on the back of the love letter, a picture of God between you and me is drawn.
Except for the hints in the above wooden house, the past of Hiroko and Fujii is not mentioned in the film, and the past of Shu and Fujii comes from the description of the tree, so Fujii is unknown to the audience, we are actually watching when we watch It is unknown how the process of being confirmed, especially by two people. So for me, even though it's all about love, it's not a love movie, but reconstructed as a mythical movie with our viewing.
Fujii's death is the primary narrative premise. For Shu, the long past was unknown at the time, and can no longer be questioned today, so her confirmation based on the fragments of memories we can see are all self-questioning and self-answering, and Fujii never said anything when he was alive. Through the inner self, he is vacuated. In the full unknown, Fujii is far away from the real person. The film has reserved a god position for him, and we have witnessed the generation of mythological narrative: First of all, Bo Zizhong believes that God loves me. Yes, so I prayed to the kingdom of heaven, and I got a response from the tree by accident, and the latter began to look back on the past. It is normal to say that looking back and immersing in the past stemmed from narcissism and nostalgia for the simple and ignorant years, but it cannot be ignored. The thing is, the tree is often shown as a frail image. The severe cold and the dying father in flashbacks mark the distance between her and death. Therefore, the love that once sprouted but never bloomed must be believed. The life force that comes and goes is the enemy of death, and the process of confirming the mood in her memory is also the process of artificial gods. And this process was also witnessed by Bozi. Bozi began to doubt his original belief in the confirmation of confirmation, but at the most shaky moment he heard God's own belief-he hummed the beauty of the memory only between the two when he was suffering. , in which the extraordinary surprises are like an oracle sealed in the snow-capped mountains, waiting to be discovered to inspire those who believe in it again. Therefore, when Bozi re-believes in the previous true connection, he will also believe that the connection between the tree and him is true, so he expresses the hidden wishes of the book card, and then at the end, the miracle that was discovered after being sealed in the same place confirms Bozi's guess. , which is the closed loop of this narrative.
This is the source of our strong emotional resonance with the back of the library card - we sway with the protagonists most of the time, doubting the faithfulness of love. There is no worldly sense of good ending with Fujii, Hiroko and Fujii have no worldly sense of good beginning, but the miraculous ending is using a most unspoken way to express loyalty, and it can have nothing to do with a good beginning and a good end, or it exists as a good end .
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