4 stars are up, and selfishness is added to five stars. Maybe I'm too thick on the fanboy filter, but this story really shocked me. The truth is false, the fan brother did not plan to write a real reasoning and suspense film at all, nor did he deliberately sell the trick and let the audience be a detective. This is a Rashomon nested in layers. The audience is always in the lawyer's perspective, and is played around by the words of Saki and Misumi. When you think that you see a mountain as a mountain, the closer you get, the more you realize that you still see a mountain as a mountain. . A murder case is just a container. The media, prosecutors, lawyers, Sakie, and Misumi himself each put their own assumptions about the truth, trials and sanctions on suspects. Rather than the specific judicial system, the story wants to explore the action of sanctions itself. The crosses that appear everywhere in the film are its images. Sanyu is good or evil, whether there is murder or not, whether it is for Sakie or not, doesn't matter. The important thing is that in his repeated confessions and conversations with lawyers, he actually completed the sanction against himself with everyone else, or in other words, they cooperated with him to complete the sanction against him. He hates himself for hurting others for no reason and playing with other lives with ease. But who decides the life and death of a person? It would be easier if it were all left to the unreasonable will of God. As a person, why decide the life and death of another person? This question may be unsolvable. At the end of the film, the lawyer standing at the crossroads still has no idea why the truth is. Perhaps from the beginning, his job was to willingly hypnotize himself into a suspect's trick and make up a better story for him. It doesn't matter whether you believe it or not, as long as it can pass the trial.
"Here, no one will tell the truth." We don't know whether Saki told the truth in court. When she faced the two lawyers before, whether her words were true or false, we don't know. Suzu's face was always filled with sadness and hatred, but that didn't mean what she said was the truth. There are foreshadowings ahead - the lawyer's daughter, a girl who is only fourteen years old, isn't she an excellent "actor"? There is no positive portrayal of her relationship with Sanyu, all of which are her own words plus the lawyer's speculation. Such an imaginative associative reasoning is a bit like "Walking in the White Night". However, after the trial, Misumi passed by Sakue, and when the two looked at each other, Misumi made the gesture of releasing the canary again. This was a real signal that did not require words and was directly conveyed to the other party's heart. Release and killing are also judgments of fragile and impermanent lives, and Misumi chose the former for Saki, hoping to give her even a fleeting and vague freedom-of course, then again, this does not mean that, What Sakue said was true, and the lawyer guessed that Misumi's suicidal motive was correct. There are thousands of truths, and which one you choose to believe in is actually projected on your own heart.
I am convinced by the dimension and depth of my brother's thinking. His ability to write stories and shape characters is unquestionable; I appreciate his sense of relaxation more, he did not deliberately write a suspenseful atmosphere, and the tone of the soundtrack is very natural, interspersed with A large number of pictures of life are taken into the film, and the different externalized forms of imagery are inked, which effectively diverts the audience's attention from the obsession with the truth. It is a pity that although I understand Sanyu's intention in theory, many behavioral logics can't be understood for a while. In addition, some point-to-point confrontations, if they are more concise, maybe the feeling of pretending to be mysterious will be lighter, and it will also be more tasteful.
Yakusho Koji's acting skills are soul-stirring. He seems to be thinking about what he is thinking. No one knows. Anger, pain, doubt, serenity... all are deeply engraved in his expression and actions, and he is easy to retract. Suzu's appearances are too few, and his acting skills are not obvious, but the halo fits this movie very well. Fukuyama's small gestures and expressions are more, but unexpectedly, the lawyer has a little more playfulness and cynicism, which is why he is interested in accompanying Sanyu again and again, and pays more attention to the truth.
It's a pity that I didn't have a chance to watch it when it was released in China. If there are fans on the big screen in the future, I will definitely support it.
View more about The Third Murder reviews
