Every time I recommend Japanese movies to my friends, they always have a skeptical expression. First, I watch mostly old movies, and second, many of these movies are boring in their eyes. The same is true of "Autumn and Harmony". After watching this movie, my friend said that it was beautiful and boring.
It seems so, beautiful but boring.
The first Ozu movie I watched was "Tokyo Story". At that time, I didn't know much about Japanese movies, and I didn't have many deep impressions after watching it. A few years later, when I contacted Ozu again, I realized that it was good. It seems that this hindsight made me miss a lot of classic movies. However, it doesn't matter. Fortunately, there is still more time, so you can watch the movie slowly.
I have always wanted to define a good movie, but I always feel the lack of language. After all, everyone has different requirements and feelings for movies. Blind definition is unbiased. After watching "Autumn Harmony", I think that a good movie is like this. It has a unique charm. After watching it, it will leave layers of ripples in your heart, reminding you of your own life unconsciously. Then soak in it for a long time, gain something and lose something.
In the movie, Si Ye Zi played the daughter of Hara Setsuko, Fumiko. When she came into my field of vision, I couldn't help being shocked. Under Si Ye Zi's dignified and beautiful, hidden the temperance and forbearance in traditional Japanese culture . This kind of beauty has a sense of solemn ritual, and also a kind of cautious cautiousness, Ozu has just the right balance of Fumiko's awkward identity and restrained emotions. In addition to Si Yezi, there is also her friend Okada Moliko. The playfulness and agility make Okada Moliko especially beautiful in this movie. In the sense that Ozu uses the camera to preserve these beautiful images, you have to admit the unique charm of cinema as an art.
"Good artists imitate fur, great artists steal soul"
In fact, most of Ozu's films are about trivial things. The amazing thing is that Ozu has endowed these fragments of life with deeper connotations and more special meanings, making it different. Perhaps, in Wilde's words, "a great artist never sees the world as it is. Once he sees it through, he ceases to be an artist."
When watching "Autumn Harmony", I felt that the emotions that had been hidden for a long time in my heart suddenly woke up, and I thought of some people and things around me. What is certain is that Ozu's films do have such extraordinary qualities. They look bland and uninteresting, but in fact they are dark and turbulent, directly pointing at people's hearts. Such films have a heavy and simple texture, which is what attracts people to read and think. . Today, it's hard to see a movie like this on the screen. Yes, it is said that this is an impetuous world, and the romance of the dark fragrance floating in the moon and dusk is long gone.
In Ozu's films, marriage seems to be a constant topic. The topic of marriage is between men and women, and the topic of marriage is still between the previous generation and the next generation. Although it is the same topic, every time All have their own unique charm and unique charm.
Friends around me like Akira Kurosawa more, because Akira Kurosawa is a very smart director. He knows what people like to watch and what he will make. Therefore, Akira Kurosawa's films are a sea. And Ozu is a craftsman. He makes what he likes to the extreme. No matter how others view it, perfection is his requirement for himself.
There are not a few people who don't like Ozu's films. It is undeniable that Ozu's films have a very beautiful image, the beauty of Japanese architecture, the stillness of the character's posture, and the symmetrical composition. These are all unique things in Ozu's films. Japanese life has a natural sense of ritual, and Ozu turned this sense of ritual into his own artistic feature, and raised the beauty of Japanese culture and Japanese life to the artistic level, and the language of film is even more extreme. Ozu focuses his lens on people's ordinary life, and because of this, Ozu can switch back and forth between the art of life and the art of video with ease.
"I think the basis for the feeling of a movie should be to think about it first, and then think about how to make this idea arouse the audience's physiological resonance. Everything starts from here." - "I open a tofu shop, I only make tofu. 》
Watching Ozu's movies, you can't have too many expectations, because it's too bland, and there won't be too much disappointment, because it's really beautiful.
[Everything, as Donald Richie said in the preface to Yasujiro Ozu's "The Art of Ozu": Like all poetic techniques, Ozu's technique is roundabout. He doesn't make himself face feelings directly, he only gets them by accident. His cinematic art is formal, a formalism comparable to poetic formalism. Consistent with the strict rules of his own laws, he destroys all stereotypes and familiar routines in order to give every word and every picture a fresh and urgent meaning. In this respect, Ozu is very close to the masters of ink-e and haiku. And when the Japanese say that Ozu is "the most Japanese," they are basing it on these particular qualities. This special quality, Ozu's landscape is the best portrayal, but it is also the first to wither in the process of modernization. 】
In Ozu's films, there are you, me, and all kinds of things that are hard to tell. After watching it, I still have no idea. I saw myself and all living beings in the world.
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