[Kishi No Tabi] Ying-no-Tabi on the Shore: Starring Kiyoshi 黑泽 Starring: Yuri Fukatsu / Tadanobu Asano / Masao Komatsu Screening Date: 2015.10.01
Kurosawa Kiyoshi, who is best at making thrillers, has made a comeback, using a lot of life details and touching soundtracks to create this unconventional "road movie", showing an elegy that spans the yin and yang worlds.
As the presence of scene scheduling
For those who are familiar with Kurosawa Kiyoshi's works, [Shore Trip] may be a somewhat unfamiliar film, but it is also a very "familiar" work, because even if the subject matter becomes mainstream commercial and warm, Kurosawa Kiyoshi can still be sought after by the "Film Manual", and the author's scene scheduling still has a very high degree of recognition, and it is precisely because of this kind of scene scheduling that Kurosawa Kiyoshi is distinguished from the creators of ordinary Japanese films.
At the beginning of the film, the husband Yusuke, who has been missing for three years, returns to the home where he lives with his wife Rishi late at night, at which point the film's message has revealed that Yusuke is a ghost - the husband never appears in a dark room without lights, and he reveals his identity.
But the most intriguing thing in this passage is that Rishi asks Yusuke to take off his shoes, and Yusuke has a slight hesitation. The next morning, Rishi repeatedly emphasized the fact that Yusuke was still "wearing shoes", and Kurosawa Kiyoshi directly gave a shot of Yusuke wearing shoes on his feet.
Kiyoshi Kurosawa emphasized this message twice, and careful viewers will probably pay attention to this foreshadowing. On the real road trip, Yusuke and Rishi's first visitor is Mr. Shadow Shima, a newspaper distributor in the town. He and Yusuke have the same identity, both are ghosts wandering in the sun, their hearts are not yet settled, when he finishes talking to Yusuke after drinking, the couple put him on the bed, took off his shoes, and the next day the small apartment became a ruin. This detail is the answer to and response to the message "take off your shoes" in the opening paragraph, when the ghosts take off their shoes, it vaguely means that they will disappear in this yang.
In fact, we understand that "taking off their shoes" is something that a person must do after returning home, and it is also the first thing they will do after entering the house, but ghosts cannot take off their shoes, which means that even if they return to their home, they are not really "home". From the beginning of the film, Kurosawa Kiyoshi foreshadows the final ending of the ghosts represented by Yusuke through the prompting of the message "taking off his shoes", and in any case, they cannot stay in the sun forever.
As the film progresses for about 45 minutes, Kurosawa also gives another hint about Yusuke's ending. Rishi and Yusuke arrive at the second home on the trip, a small restaurant where Yosuke once worked. Settling in and being comfortable for a time gave Rishi the happiness of being able to continue living in this town with Yusuke until he was old.
But when Rishi faced Yusuke affectionately dissecting his innermost thoughts, the two people who were originally side by side in the frame, as the camera continued to move closer, only Rishi was left in the camera, and Yusuke was completely "cut" out of the camera. We watch rishi's affectionate and self-absorbed state completely, but we don't see Yusuke's response. The moral of this shot is very obvious, he expresses the director's intention, in the future planned by Rishi, even if she is full of hope and Yusuke, but this future is like the message given by the camera, Yusuke does not exist, and he cannot respond to Rishi's requests and hopes. Compared with "taking off the shoes", this is the second layer of the film's most obvious hint, Kurosawa Kiyoshi is through this form of scene scheduling, step by step to the film has already set the ending.
Whether it is taking off his shoes or Rishi's affectionate monologue, Kurosawa Kiyoshi finally makes the audience feel a sense of ceremony through the details of such a scene scheduling in the film.
The most obvious is undoubtedly the several important "dispatches of light" that appear in the film. The first time was when Mr. Shima Shadow went to bed after getting drunk, when the originally dark wall, the light source lit up to illuminate the paper cuts on the entire wall, densely covered with large and small paper flowers. At this time, the audience can probably be alert, "This is a hint left by the director", the island shadow that cannot forget the past supports its belief that it does not "disappear" through the paper flowers that are constantly cut out, and the paper flowers lit up here predict the death of the island shadow, and the paper flowers are analogous to the flowers around the burial, which is a funeral held to commemorate the island shadow.
The second time was on the occasion of "summoning" the sister of the little restaurant owner, and she recalled the moments of her life with her sister, when the room, which was originally full of light, suddenly darkened. This was to pave the way for the subsequent appearance of the sister's ghost.
This is also one of the most moving scenes in the whole film, Rishi looks at the ghost of the little sister in the dark playing the piano, her face is full of tears, which is completely different from the indifferent expression on her face when she teaches her students to play the piano at the beginning of the film. Probably out of "feelings", students can't understand the deep meaning behind the piano music, playing the piano is only for a forced interest (parents' wishes), but the boss lady's sister is a real love, so it can bring Rishi a completely different emotional impact, this scene is ostensibly to untie the boss lady's heart knot for many years, but it is more like Letting Rishi come out with a depressed state of mind about Yusuke.
The third time was when Yusuke and the villagers were teaching, the original dim occasion, the director undoubtedly deliberately arranged for a villager to stand up and "light up", and then more lights were lit by the villagers, and the orange light allowed the audience to directly contact the orange lights similar to the Christian church, suggesting that this was the last ceremony of Yusuke, and then the camera slowly moved until only Yusuke and Rishi's back were left in the frame.
Yusuke talks about how fortunate he was to be born in this age and says, "This is not the end of the universe, but the beginning." This is Yusuke's roundabout response to Rishi in another way—how lucky I was to live with you, and now that I'm gone, it's not the end of your life for you, but a fresh beginning. When we notice the details buried in the film and read the message that the director tells the audience through scene scheduling, the film will become more touching and interesting.
Source of the article: Watch Movie APP