Pay attention to Uncle Monty you and good movies only one attention In recent years, the censors of radio and television are angry brushing the presence in our daily lives.
Whether in the cinema, television, or the online world, it is impossible to ignore the feeling of their presence.
Uncle Meng suddenly wondered if they had been so strict before, had they been ridiculed?
The following story is about a screenwriter and a "radio and television" censor in Japan in 1940 who "tears each other apart" over a script for seven days.
The University of Laughter
Director: Star Protector
Writers: Yuki Mitani
Starring: Goro Ajigaki / Koji Yakusho / Tae Kimura / Masao Komatsu
Genre: Drama / Comedy
Tsubaki (Goro Inagaki) is a screenwriter for a comedy troupe called the University of Laughter. No matter how many times I have been to the review studio, every time I come to review, I am still very nervous.
The censor Xiang Saka (Hiroshi Kosho) is meticulous and does not smile, disgusted by the so-called "vulgar comedy". Before working as an examiner, he was a person who did "anti-Japanese thought control" in northeast China.
In this war years, Japan, as an aggressor, used people with such experiences as censors, even comedy censors.
The minds of those in power are evident.
Because Xiang Ban was not satisfied with the script and asked for constant rewriting, Tsubaki came and went in this room for a total of seven days.
On the first day, Tsubaki replaces the characters and scenes of "Romeo and Juliet" in Japan.
Speaking of reasons, it is very convincing, one set after another.
Uncle Meng's disgusting remarks about this kind of officialdom, as well as the censor's face, were not half-hearted.
"Britain is an enemy country, and if Churchill had made sushi, probably the Japanese wouldn't have eaten it."
The next day, Tsubaki added three sentences to this comedy, "For the country, for the country, for the country" to arouse people's patriotic enthusiasm in the wartime.
On the third day, a comedy can't even have a "bad manners" kissing scene.
It feels like the contradiction between the two is intensifying.
On the fourth day, when xiang ban had no opinion, the supervisor began to speak.
"In the play, there is a policeman to be added. Also give a good character to shine. ”
On the fifth day, Xiang Ban began to change and began to participate in the writing of the script.
This kind of layman's interference at every turn really makes the censors' faces more disgusting.
"Come out for the sake of coming out, that's not right."
The censors even fantasize in the drawing that they are really acting.
With all due respect, the censor at this point really feels like a mental retardation.
On the sixth day, "write a comedy that can't be laughed."
On the seventh day, after writing a perfect comedy, he said goodbye to this comedy world - to "sacrifice his life for the country".
For seven days, Xiang Ban kept asking Tsubaki to revise it, and did not kill the script with a stick, but did not give clear hope.
In this case, not knowing whether he will be able to pass tomorrow, Tsubaki needs to stay up all night every day, and even "desperately try to modify it".
Theater directors and members looked down on him, beat him furiously, and thought he was too easy to compromise.
Theater conductor, teahouse owner denigrates him, does not understand him, considers him a "traitor, the dog of the state, the dog of the government".
He didn't care about any of that.
Tsubaki's comedy is not for those who don't understand him, "The audience will understand me." ”
It took God seven days to create the world, and Tsubaki spent seven days writing the whole world he could present in his pen.
"Inside, I learned everything in Asakusa."
This "all" makes a person who is "born without laughing cells" record over and over again, laughing 83 times.
Even if I already know that even if the script can be approved and I can't see the premiere of the performance, I still don't give up "fighting in my own way" and seriously write a good comedy.
"This is my battle."
Tsubaki's comedic world has a soul and the strength that has always sustained him—his deep love for comedy and his pursuit of art.
It's something a man loves, his artistic career, his spiritual world. Even if it has been unreasonably asked, it cannot be perfunctory.
"Is it that important to be funny?" "It's important."
All he could do was work harder to make it a better, more joyful comedy.
In these seven days, Tsubaki completed more than just a script.
He involved a man who had no artistic cells and never laughed, and let him feel the "charm of comedy".
It also changes a person's outlook on life and makes him a real "person".
Xiang Saka began to laugh, began to cry, began to participate in the script, began to have enthusiasm for acting, began to hate war, disgusted with the hypocritical "for the country" -
We are all ordinary people, but we are all human beings, who does not want peace?
"You must come back alive." This is what a "person" should expect.
Who says there must be no laughter in wartime? Is war necessarily a glorious thing? For whom is this war?
For every ordinary person, what is desired is national stability and peace of mind.
Uncle Meng did not understand, because of the ambitions and desires of those in power, constant aggression, constant war, and constant sacrifice.
At the end of the day, can't you even have laughter?
God has given us the power to laugh, and those in power have seized it, so should we be grateful?
This comedy with a Douban rating above 96% ends with people crying.
So, "Really good comedies are tragedies." ”
As such a "comedy", what we see is that two people, a room, a street, a theater, is the whole "University of Laughter".
However, two outlooks on life, a comedy script, a country, and a war make up the real University of Laughter.
The direct face of history, the exploration of human nature, the reflection on mistakes, and the vigilance of the future show us a country that has lost in war but is still making progress.
Japan is such a country that we hate, loathe, and remember forever the heinous crimes committed in China, but we cannot deny their spirit of learning and all the places of progress.
Nowadays, there are too few national dramas that dare to tell the truth and dare to perform real Chinese dramas.
How to develop into a cultural powerhouse, what we lack is not only censors like Xiangsaka, but also creators like Tsubaki.
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