I have watched the movie "Norwegian Woods" five or six times before and after, not too many times, but each time I can still watch it with anticipation when the plot is known, so after watching the movie, I have something I want to express.
Every character that appears in it is like every sentence in a wonderful text to me, and it is working.
At the beginning of the film, the protagonist Watanabe is used as the narrative background, and the relationship between Kizuki, Naoko and him is said concisely and concisely, the sound is smooth and the light processing of the film is not particularly bright from beginning to end, just like the feeling of seeing flowers in the fog, which is very hazy. At the same time, it also sets the tone of the whole film, which is confused, heavy, and at the same time beautiful.
Pictured| Watanabe, Kizuki, and Naoko
At the beginning of the movie, there are some scenes about Kizuki, playing billiards with friends normally, playing, nothing unusual, and the interaction with Naoko is also not great ups and downs.
But after these ordinary and ordinary scenes, it turns to the scene where Mu Yue prepares to commit suicide in the car, and the light is dark everywhere, and only the shadow of Mu Yue can be faintly seen. He went to start the car twice, and the suffocating gas kept coming out, and the whole process was extremely ordinary and depressing. Even as Mu Yue's breathing slowly and quickly became known to death, there was no other sound.
Perhaps for real life, Kizuki may be a weak person who escapes from the world, but he is undoubtedly a brave warrior for death. And it is also Mu Yue's frank and "unclear" death that pulls the tone of the entire movie to a freezing point, and also sets the foundation for the transformation of other people's character characteristics.
Pictured| Naoko meets Watanabe again
Kizuki establishes a connection between Watanabe and Naoko. Although Kizuki is not mentioned when Watanabe reunites with Naoko, it is impossible to ignore kizuki's role.
Watanabe is also determined to become a tenacious survivor after Kizuki's death, the most obvious highlight of which is his defense of Naoko. In his conversation with Midoriko, he confesses that he likes Midoriko, but he can't abandon Naoko under any circumstances. From this sentence, it is not difficult to see the determination to "abandon" Mu Yue's cowardice and want to pay the responsibility to the end, and it is this determination that makes the feelings between these people more tactful and confused.
Pictured| Midoriko and Watanabe looking at each other
There are many places in the film about sex, and in these sexual narratives, neutrality is the most authentic desire from the body, which is a way of willingness to open up and accept oneself, unlike rotten sex.
In the film, Midoriko meets Watanabe many times, and begins with "You know what I want to do now", telling her most authentic desire for Watanabe, constantly opening herself, is an extremely romantic and brave lover, and her feelings are more relaxed and clear. Unlike Midoriko, Naoko's love is convergent and brave, contradictory and hazy, not so direct, not so much to love, but rather to lose herself in the shackles of old love, when reunited, her long-lost opening to Watanabe makes her think that she is relieved, but since then it has backfired, so Naoko has become increasingly closed. From this point of view, sex is a symbol of pain and closure, and one of the reasons that led to Naoko's suicide. Trapped in fruitless love and unwillingness to open up one's own world, force oneself into the haze. The inability to open sex is undoubtedly a hint that Naoko has already fallen into a depression.
Figure | Naoko sadness hallucinates
Watanabe, on the other hand, is a more courageous performer, facing everyone's feelings directly, which is why he feels that Nagasawa has a noble character and feels that he is an extremely evil person. There is no sense of responsibility in the treatment of feelings, Yongze said that he will not marry anyone, which also means that he will not be trapped by any feelings and does not want to go deep into the dense forest of feelings, and he always remains sober compared to the sinking lover.
His opposite is Hatsumi, compared to Yongze's sober reason, Hatsumi is to devote herself wholeheartedly to this relationship, without complaint or regret, and finally die in the painful loss.
Reiko is the most gentle and decisive female character in the film, even if she has been lost, she is still willing to open herself and face the confusion of love, where sex symbolizes the willingness to open her own freedom and expectations for the future.
Tu | Reiko hugging naoko who was ill
Figure | Reiko
From the beginning to the end, the scenes are mostly unfolded at night, snow, and cold mornings, and the feeling of seeing flowers in the fog is also very strong. The tone is low, and the expression of the background music is the same as that of the people in the play, sad and gentle.
Therefore, love is like a dense forest, walking in and losing yourself, both painful and romantic. Therefore, there is such a sentence: "Ask what the world's situation is, and call life and death." Why aren't the people of the world trapped in that "Norwegian forest."