It's a bit cold to say that. If I didn't believe in the existence of such a man, the film would basically not hold for me. But I still want to believe that, as you know, I am often impressed by "beauty". Of course, also because many parts of the movie are quite real, the whole is a wonderful combination of reality and fantasy. Compared with Chinese movies, for example, Yang Dechang and Wang Jiawei are woven together - Du Li and Rudi are old couples. Ten years of ordinary life, the unreal but thin filial piety of the three children, the hustle and bustle of modern Tokyo, these parts are full of real details, as meticulous and patient as a Taiwanese literary film, with a kind of heaviness. The power of simplicity overwhelms the entire film, making the other beautiful plots (after his wife died, Rudy finally realized that she had sacrificed her lifelong dream of oriental dance for her family, and she repented and went to Japan to study on her behalf. Dancing, watching Mount Fuji, and by the way, I made a year-long friendship with a little orphaned girl in Tokyo...) It doesn't seem so frivolous. Heaviness and lightness, reality and fantasy are interwoven together, just like knitting cotton cloth and embroidered satin into a gorgeous dress, which also makes people feel very natural and beautiful.
Although it was a late redemption, the old man Rudy clumsily learned to appreciate beauty, appreciate the mysterious Japanese culture, and care for strangers in the course of redemption. It's too late. It's better than not knowing for a lifetime. It's okay to die in the morning.
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