Some time ago, the "Li Yundi Incident" stirred up a thousand waves.
Different from other unscrupulous artists: in addition to the perfect labels such as "tearing man", "piano prince", "human high-quality male", Li Yundi also has the identity of an "artist".
This identity allows Li Yundi to have a different audience group, and also makes the consequences of the incident more tragic.
Why does artists lose their morality more?
Because in the public mind they are "people's artists".
In fact, from the moment he called himself an "artist" in the entertainment industry, he had lost his true image as an artist.
In terms of piano performance, Li Yundi is up to the standard of "home".
However, with the increasing number of announcements of variety shows, the appearance of the "artist" he expects in the variety show is the internal friction of the original identity.
It can be seen that the more you hope to achieve achievements with the help of an identity, it is easy to lose your original identity.
Takeshi Kitano has long understood the similar truth, so he used the film to ridicule -
Achilles and the Turtle
Achilles and the Tortoise
The title "Achilles and the Turtle" is derived from the famous paradox proposed by the ancient Greek philosopher Zeno - the Greek myth of Achilles racing against the turtle, when the turtle advances 1m a second, Achilles advances 10m, and his speed is ten times that of the turtle.
The turtle ran 100m in front of him, he chased after him, when he chased 100m, the turtle had climbed forward 10m, so there was another starting point: when he chased 10m, the turtle had climbed forward 1m, and another starting point was generated, and when he ran forward 1m, the turtle climbed out 1/10m...
So continue to deduce that Achilles will never be able to chase the turtle.
In the form of a biography, the film tells the story of the protagonist Machishou's experience from adolescence to middle age.
The young Manchishou (真知寿' name is pronounced in Japanese like the French Fauvist painter Matisse) came from a privileged family.
Although he has never systematically studied painting, he can create as he pleases according to his own ideas.
Relying on his father's social status, his casual paintings were "appreciated" by a painter.
The painter gave his red beret to Machishou and praised him for becoming a great artist in the future.
Thus, "Machishou had a dream of becoming a painter... To be precise, he was forced to have such a dream. ”
However, the unexpected happened, and the parents committed suicide one after another due to bankruptcy and debt.
Zhen Zhishou had to live in his uncle's house in the countryside.
The former young master could naturally act arbitrarily, but now without his father's protection, his "artistic creations" have naturally become incomprehensible behaviors.
It was always hard to send people under the fence, but Machishou still met his first friend in the village, a beggar who liked to draw.
Together with the beggars, he laid out various patterns in the open space of the courtyard and were like-minded.
The good times did not last long, because he listened to Zhen Zhishou's words, and the beggar stopped the car and drew the painting and was killed.
Machishou, who was sent to the welfare home, happened to be in that car.
The young Man Still did not give up art, and every day he wore the red beret that the painter gave him when he was a child, and worked in the newspaper.
His works were not recognized by the dealers, but Sachiko, who worked together, admired him and sponsored him to study at the Academy of Fine Arts.
The various fresh ideas and trendy creative methods in the academy allow Zhenzhishou to absorb different kinds of artistic styles.
Machishou and his classmates try different creative methods, and the life of the academy is brilliant and happy.
But such a simple and carefree life still could not continue, and students died one after another due to accidents and suicides.
And his works still can't be sent to the gallery.
People are middle-aged, still no one appreciates, and they really know that life is poor.
Time had left traces on his face mercilessly, and the former teenager had become an uncle, but the only thing that remained unchanged was the red beret on his head.
Fortunately, his wife Sachiko did not abandon him, working part-time while supporting his creation.
His daughter was also in high school, and her parents' behavior disgusted her, and in a fit of rage, she ran away from home.
Once again, the dealer sent Zhenzhi Shou.
The excuses that had been meant to prevaricate him were taken as a guideline, and he began to experiment with a more sophisticated way of art.
Street graffiti, car accident scenes, boxing, drowning... Finally, his wife, Sachiko, decided to give up art.
The daughter died unexpectedly, and in the face of her daughter's body, Zhen Zhishou began to create for the first time.
This made Sachiko unable to bear his madness any longer and break with him completely.
Alone, he chose to die with art.
In the red picture frame, he seems to be "paying tribute" to himself.
With one fire, he burned all the paintings, and in the raging flames he was going to finish the final art.
Passing fellow countrymen rescued him, and the escaped Zhenzhishou was covered in bandages — he finally stopped wearing the red beret.
Pick up a Coke can and put it on the market to sell – is art a lie?
After going around, his wife returned to him.
She looked at him and smiled, even if she had bandaged up to one eye, she still recognized it.
On the banks of the Sumida River, Machishou finally made up his mind to throw away the empty Coke can—without flying far—and slowly rolled from the trail in front of them, and then he didn't hesitate to kick it into the river.
At sunset, the two snuggled up and drifted apart...
So Achilles caught up with the turtle.
Throughout the film, the director's exaggeration and alienation in the character image are very prominent.
In addition to the common shapes, colors, and camera angles, the director also spent a lot of thought on the choice of actors.
For example, when he was a teenager, Machishou was played by the Japanese child star Emperor Yoshioka at that time, while in his youth he was a powerful actor Yanagi, and in middle age, he was the director - "Uncle Face Paralysis" Takeshi Kitano.
The difference in appearance and age span of the three protagonists also shows the bumps in the protagonist's artistic path.
Emotionally, Machishou's emotions are only projected on painting and color, and are not directly conveyed through the figures.
When He was young, He experienced his father hanging himself, his mother jumping off a cliff, and a beggar friend who was in a car accident because he heard that he was in a car accident, and he did not have any sad emotions at that time.
In his youth, two friends in the same window had an accident and a suicide, and Zhen Zhishou witnessed it with his own eyes and remained unmoved.
When he was middle-aged, he rushed to the scene of the car accident, only for artistic creation, for "art" to beat his wife with boxing gloves.
In the face of his daughter's corpse, Zhen Zhishou still did not have a single tear, and even smeared lipstick on his daughter's remains to "create".
The film's color palette distinguishes the three stages of the protagonist's life.
Later in the story, large areas of red, yellow and other colors are used to increase the visual impact of the image, which also hints at the state of Zhenzhishou's gradual madness.
The paintings that appear in the film are all personally drawn by director Takeshi Kitano for the film.
The bridge section in the film where Machishou and his wife create with boxing also stems from reality.
He is based on the Japanese artist Shinohara Seio, who, like his wife in the film, accompanied him in his artistic creation for nearly 50 years.
The documentary "Little Cutie and the Boxer" featuring him was nominated for the 86th Academy Award for Best Documentary.
Throughout his life, Machishou has been chasing the "turtle" of the "genius artist".
The red beret was a dream he had passively acquired and a symbol of his status as an "artist."
Like Achilles's absurd theory of chasing a turtle, Machishou stubbornly chases after his childhood self.
So, only when he really gave up the "Red Hat" did Achilles catch up with the turtle.
Is it true that someone, like Zhen Zhishou, passively obtained a "dream", a "name", a "special honor", went around, searched for it, and ended up being shackled by a "hat" for half a lifetime?
Stories are always absurd, but reality is often lamentable.
Looking at the "Li Yundi Incident", tracing back to the source, artists entering the entertainment circle and accepting entertainment, is it a mistake in itself?
If, at the beginning, the direction is wrong, then stopping is a kind of progress.
Since it is a turtle, don't chase it.