First of all, the film failed to escape the stereotype on the characterization. The protagonist, Peaches, is the child of a gangster and a prostitute, raised in a single-parent family, and has experienced poverty and turmoil in life, as well as a perverse personality. So although she is wearing a bubble skirt that symbolizes weak girls, she actually has a very sturdy inside. She has always had the upper hand in her relationship with witches. The other protagonist, the witch, is a motorcycle gang who has been transformed from a good girl. She is exaggerated in heavy makeup and exaggerated, but she is actually gentle in nature. The protagonists Peach and the Witch are two sides of the coin.
However, even if the background of the characters is typified, the protagonists of this film still strive to make their own gestures, and their purpose of challenging the traditional is actually self-salvation. I want to find the paradise I want. Gesture, the way Peaches and the Witch rebelled against their environmental ego.
Peach's gesture is vain, while the witch's gesture is shallow. Of course, their vanity and shallowness are not caused by themselves. Peach's vanity comes from the chaotic and vulgar world in which she lives. She paranoidly used Rococo costumes and a set of behavioral logic to open a net for herself. In the 21st century, the countryside of the lower wife goes its own way. Although she is good at embroidering in this kind of dress, she is still as feisty and promising as the children of the matchmaker. There is a detail in the film that Peach and the witch chat in a coffee shop, and Peach listens to Strauss while reading classical novels. And the soundtrack at the end of the film when the peach goes berserk is Strauss's elegant music. This must be said to be a great irony. And what the witch wants to defect is the shackles of rules and terms. She is a good-looking girl in the eyes of her parents and teachers. She wore typical black-rimmed glasses earlier, and she has a typical air-bag personality that is bullied by everyone but doesn't dare to snort. In the end, it broke out in silence, and the 180-degree turn became the hipster motorcycle party. However, under the seemingly sturdy appearance, the witch actually does not have a high appreciation and appreciation ability. There is a bit of blind obedience in her behavior. (So in the end, when she realized that she should be an independent individual, she resolutely left the organization) The witch only has the Japanese level of elementary school students, there are few Chinese characters in the letter, and even the words tattooed on the clothes are wrong. Like everyone in the next wife, Hundred Witches likes cheap knockoffs and wears JUSCO clothes. (This is the same in any country, the Chinese imitation version of Adi walks all over the street) The director used Lily to make a fashion statement in a playful tone.
However, this film still failed to get out of the limitations of youth films in the end. From the beginning of Rococo luxury to the fact that human existence simply does not need mutual care, and finally returned to the answer that feelings are an important part of life. The director dug a hole unwisely at all, waiting for the plot to develop towards the protagonist's repentance. The outside line of this film is that Peach saves Lily from the beasts, but the core is just the opposite. Lily has always firmly believed that human beings should always survive alone and do not need any emotions. The transformation of Peach, Peach began to believe that only interdependent people can Go down. In the end, it returned to the theme of mutual rescue. Then the protagonist galloped down the country road with a wound on his face, smiling like a flower.
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