In the opening scene, the old lady ran away with her back hunched over. The tone was really familiar, and she always felt like Yoshimoto Banana or Aoyama Nanae. She was always thinking about death and disappearance in her daily life, and she was a little ghostly. However, if you can watch the trivialities and ramblings of Japanese movies and novels, it is also a kind of practice. When I watched it, I couldn't wait for that scene to pass, and then I lost my mind, well, it shows how impetuous I am.
I don't want to repeat the story, and I don't want to talk about life and death in this story. This week, my share of crying for the movie has been contributed to "The Fantasy Show of Dr. Parnassus", not to mention Hirokazu Koreeda doesn't like sensationalism at all. I would like to say a little about his colors and sounds, landscapes and details. The tone of the movie is beautiful, the composition is carefully designed, and many pictures are frozen like a blockbuster. The color is also very particular. In the first half, everyone wore black. Yumiko wore a black dress, black socks, and black leather shoes. Her hair was tied into a ponytail. Her husband Yu Fu was also a good-looking young man. He always wore a black trench coat and black uniform. He went out one day and never came back. He committed suicide, abandoned his wife and children, and disappeared inexplicably. There is a very interesting sentence in the middle. The old man next door has bad ears. Every day, he turns on the radio very loudly. He applauds and laughs when he hears the happy place. He never wanted to make a sound to remind others that he was still alive, and it was probably reasonable to disappear. Until Yumiko remarried, the tone of the movie was gray, black, and cold. People walking on the street were all MIBs, and black drowned out everything else.
In the second half of the movie, Yumiko and her new husband start a happy and normal life, the tone warms up, red, green, beige all come, the sun comes in, and people's faces light up. The terracotta-colored embankment corner washed by sea water is repeatedly seen. Black, cyan, vermilion, white, suitable shades. The mystery on Yumiko's body faded, her bangs were also put down, and her body was full of fireworks. Her father-in-law, an old fisherman, was sitting under the eaves looking at the sea in a daze, or fishing. From the beginning to the end, there was no expression on his face. There was a sense of nobility in the camera, why? The type of director that bothers me the most is condescending, sage-like pointing at the people in the camera. So it was Hirokazu Koreeda that was my dish. By the way, Feng Xiaogang, it is beautiful to photograph Hokkaido, but it is too touristy, so I am sorry for so much money. One of my favorite scenes in "Phantom Light" is that Yumiko can't let go of the mystery of her ex-husband's suicide. Half green trees and half dead branches appear on the screen, and snowflakes fly from the sky. Then, turning to the funeral scene, Yumiko slowly walked past the sight of the sky and the blue sea. Really peaceful.
The soundtrack made by Chen Mingzhang may be determined by the tone of the movie. Mainly guitar, piano and huqin, I really didn't pay much attention to the guitar part, but the huqin part is good. In the brighter second half, a pair of children are running and playing laughing and joking, hopping across the pond. The camera follows their little bodies, with the simple tones of the huqin, which is the scene that impressed me the most. one. Later, the cute couple babbled and sang ballads in front of the tram window, and they were also very loving. The song at the wedding made me feel a little bit Taiwanese, sweaty, and why was I not happy at all? What's left is the little fresh piano music that sounds from time to time without incident. It's a ticklish feeling. It's a pity that it's still a commonplace.
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