This article is from Douban user Julhes's comments to Japanese films and Japanese dramas "Showa 64 Years"
Hideo Yokoyama's novel 64, basic plot and commentary, see previous book review: https://book.douban.com/review/7886124/
I watched the movie last night, and before I completely forgot, I compared the characteristics of the original book, the 2015 adaptation of the five-episode TV series, and the two films of the first and second parts.
1. The plot of the TV series has basically not changed from the original work, but the next part of the movie has made a major creation of the ending, which has nothing to do with the original work.
The first part of the movie covers the plot of the TV series 1-3 episodes, starting from the "recognition of the body" of the Mikami couple, explaining the duties and difficulties of Mikami as a broadcaster, the contradictions between the Criminal Department and the Police Department, the local government and Tokyo, until the "64 imitation case" occurs, the narrative angle is almost based on the original work, which is very beautiful. The next forty minutes are almost all original plots, focusing on the parts that are not written in the original book: after the arrest of the original 64 prisoners, the police can and how to convict them. The screenwriters of this part of the film played very happily, because I could not guess the direction of the ending, and the actors were very hard, so I was nervous for half a day when watching the movie. I don't know what the original author Hideo Yokoyama would say about the "continuation" here, but as for myself, I think such an attempt is worth encouraging. It still continues the "depressed" tone of the original: the incompetence and corruption of the police, the efforts of Mikami and the instincts of the police, and the obsession of the victims to make calls over and over again until they hear the voice. This kind of depression is the source of my nervousness, and it is in line with the original temperament.
It is worth mentioning that the location of D County is not explicitly stated in the original book and TV series, and it is still a lie, but the movie is generous in installing the story in Gunma Prefecture. This change is presumably to make the extremely important message "D Prefecture, 580,000 households, 1.82 million people" more conceptual for Japanese audiences.
2. Although the film cast is large, the TV version seems to be better in the choice of protagonists.
Mainly in the casting of the male protagonist Mikami Yoshinobu, the original work has a direct description of Mikami's appearance, especially compared with his wife as a "D County Police Flower", which is really not proud. This is also the external reason why Mikami and her daughter have a contradiction - "I want plastic surgery!" Why should I look like you, so ugly! The MIKAMI couple in the TV series are played by Pierre Taki and Kana Kimura, which is a significant contrast between the film version of Hiroshi Sato and Yui Natsukawa.
In terms of character shaping, the erdu of the "underground personnel minister" of the d county police department, which has a lot of drama in both the original book and the TV series, is almost equal to the two-way foil in the movie, and has no substantive role. Because of his popularity idol, Akikawa, a reporter for "Toyo Shimbun", played by Tsuyoshi Ayano and Eita, played by The Toyo Shimbun, has a lot of roles. These two characters are probably also "idols" in the TV series, one is Hirofumi Arai, and the other is Nagayama, the younger brother of Eita. The brothers both participated in the film and television adaptation of the same novel, and also played the same role, which will inevitably be compared. Personally, although I admire Yingtai's acting skills in other works, in these two films, it seems that there is not much space for him. Coupled with the FACT that the TV series came first, the younger brother also performed very well, and this contest, Ying Tai could not be considered a win. Moreover, a line from the character of Akikawa in the TV series also appeared in the original book, but somehow it was not shown in the movie. When Mikami reported to the reporters of the press club about the case of the pregnant woman who hit the elderly with a car, after publishing the names of the pregnant woman and the deceased, Mikami then collected the information about the deceased (Mingchuan Jiliang) collected by the director of the Broadcasting Office in order to awaken the reporters' original news intentions. The reporters were indeed impressed and accepted Mikami, but Akikawa, the representative of the press club, said a very important line:
"Also, this one is back to you."
Akikawa placed two pieces of paper nailed together on his desk, which turned out to be Akikawa's identity investigation. When he left the press room, he pasted the two pieces of paper on the whiteboard along with the statement paper.
"We didn't see anything, we didn't hear anything — that's what we did."
3. A little association about "how we are fathers now".
In addition to the "continuation" of the film, in addition to the three father-daughter relationships in the original work - The rain palace and the murdered daughter, Mikami and the runaway daughter, the prisoner Megusaki and the "kidnapped" eldest daughter - the film also has a "father-daughter" relationship between these three fathers and Megusaki's younger daughter. Spoilers are not to be made clear here.
All three fathers had lost their daughters, and all fully understood and understood the pain:
"Do you really understand?" How hard it is to be away from my daughter! With these hands... Hold her firmly. Don't you even understand that? Can someone who doesn't even have this kind of empathy be a cop? ”
Unfortunately, neither the father nor the daughter in the story is happy. Therefore, I have to think of Mr. Lu Xun's article, "How do we become fathers now?" 》
In short, awakened parents should be fully obligatory, altruistic, sacrificial, and not easy to do; and in China, it is not easy to do. The awakened people in China, in order to liberate the young with the elderly, must clear the old accounts on the one hand and open up new roads on the other. It is the opening statement: "Carrying the burden of the attack, shouldering the floodgates of darkness, and letting them go to a wide and bright place; thereafter they live happily and behave reasonably." "This is a very great and important thing, and it is also a very difficult and difficult thing.
But there is another class of elders in the world who not only refuse to liberate their children, but also do not allow them to liberate their own children; that is, they want their grandchildren and great-grandchildren to make senseless sacrifices. This is also a question; and I am a man who is willing to be at peace, so I cannot answer this question now.
October 1919