As we age, individuals change with regard to desires, ideals, needs, and more. But before old age, the values driven by society and human nature change very little. Necessary and non-essential survival foundations and mainstream values, such as buying a house and buying land, marrying a wife and having children, and achieving prosperity, have always been the inevitable trend of life to drive every move of life. Although the pains and joys that are deeply entangled on the road are constantly revising the trajectory of life, the urge of ideals and desires controls the direction of life without pause. We live under the roof of a civilized society. The vast space and mainstream values are enough for us to spend our whole lives to obtain the necessary food and saturation expectations and to be recognized for spiritual sublimation. The road is difficult and the vision is narrow, and the vision that was once far away can only be blurred and frozen to the front of the eyes. Until the end of life, this kind of life trajectory will stop, and there will be a chance to obtain the detachment that human nature can’t meet, and the heart will gladly grasp the calm state of mind such as safety, respect and protection, and so on and so on, but spend all your years looking for it. of human nature.
The success of Director Yamada's trilogy of period dramas focusing on inferior samurai lies in the commonality between TOEFL and the individuals of our time. Such as the competition in survival, it will never change. The wonderful thing is that under the worldview of the elderly, what we see is not the magic method to solve the problem and the way to vent, but the true nature of these problems in time and space. In the images of the simple and restrained going back decades, the characters of the three stories are young people who are awkward in life. They are above the bottom of the society and out of reach of the upper class; they acquire extraordinary values, but they themselves can never get the expected values. Rather, the characters in the series are victims of feudalism. Rather, the life situation of these characters is some kind of representative of the inevitable collision between the system and the individual. For an individual, underappreciated talent and the world are uncontrollable. The only thing that can be controlled is the inner strength to resist hardship and spiritual detachment, as well as the combination of behavior and understanding.
Changing to a director who is decades younger will not make the film have such a taste. Therefore, in the prime of life, lamenting that time has urged people to be honest is equivalent to nonsense, and has no useful value at all. The responsibilities that men need to bear and the identified life are the same as what the characters worry about, and the sense of crisis of loss of value will break down the power of the whole life and the law of moving forward. Personally, I think that, compared to the verve covered by the series, the story told in "Part of a Samurai" is somewhat inappropriate because it is too extreme. But such a story is easier to compare to the distance between heaven and hell. What is heaven, from the character's point of view, it is to teach children with swordsmanship. Behind such an unrealistic vision is a declining mentality of underappreciating talent. The ultimate doubt about one's own value corresponds to the infinite obedience to the system and the loyal longing for the spiritual support, all kinds of hardships come uninvited. For the far-sighted truth, the suicide and divorce of the self-esteem wounded, and the successful revenge in the late autumn are really full of doubts. For ordinary individuals, this instinct to protect oneself and even selfish mentality creates a new life.
Unlike "Twilight Kiyobei" which defends the maturity of the family, "One Point of the Samurai" emphasizes the childish side of a man's out-of-control self-esteem. The selection of materials this time is confusing, but in the final analysis, the unconditional dedication of the family to the self-living space, which is extremely important in human nature, is still the consistent style of the film. When the gap between life ideals and social cognition appears, when everything returns to peace. The true meaning of life emerges again - struggle to get out of trouble. The biggest effect of this series of films directed by Yamada is to use real, simple and accurate replicas to move the audience. Trivial details, boring scenes, monotonous characters, and soothing rhythms are, in the eyes of the viewer, a summary of life after a long period of precipitation. Those extraordinary things in such images bring real life and realistic thinking. The Wuhua narrative makes people immersed in it, and then suddenly discovers that the power that drives a person forward is not their own sublimation, but the love for family, lover, others, nature and life. This is the essence of life, just like this story driven by the collapse of self-esteem, there is no safe place to be born, no family happiness, no sincere love, how can you have the courage to explode.
In this series of films, the most outstanding is definitely "Twilight Qingbingwei", and the most worthy of appreciation is that the whole film shows a strong breath of life and an accurate explanation of the meaning of life. In the face of all kinds of situations in life, it must be a constant struggle, and it should also have the detachment to get rid of the world. In life, down-to-earth climbing against the wind is inevitable, and the calmness and comfort that follows is the true meaning of life. Easier said than done, maybe that's what the 60-year-old wants to tell us. And the success is that Director Yamada really did it with unpretentious images.
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