I think "Grace of the Hedgehog" is a philosophical film. Many of the words in it are worth pondering carefully. But the final outcome caught people off guard, and perhaps unexpectedly. I think that the love between Mr. Ozu Geran and Mrs. Renee, the concierge, has long gone beyond friendship and love, and it is a pity between two precious souls.
The film's narrative is also quite special, the director's perspective and the perspective of the little girl's camera, interspersed with each other to tell the story. The results of one thing are also presented in another way.
Although the little girl Palmani looks strange in the family, I think it is undeniable that she is a very thoughtful person. The different patterns on the walls record the events and moods encountered every day, have their own views on chess and Go, and know what is special about mrs. concierge.
I think both Parony and Mrs. Rangi the Concierge are like hedgehogs, seemingly incomprehensible and approachable, but actually unusually elegant. From the outside, it is covered with spikes, like a real fortress. I believe that her heart must be very delicate, like loneliness, and it is not ordinary elegance.
Silently do the most authentic self in the heart, for a long time, peace of mind and tranquility to do what the heart wants to do. The wonderful thing is that I have recently watched movies and books, people I have met, and places I have been reminding me to read thousands of books so that I can be at peace with my heart. Maybe this is the best way to do it little by little, just for the sake of your own inner richness, and you don't need to share it.
Mr. Gran has the respect and admiration of the sharp, gently but firmly helps Renee out of the shadows, bravely faces his heart, and seizes his happiness. "The most important thing is not to die, but what we are doing at the moment of death", Renee is happy, and is ready to love at the moment of death, which makes people can't help but see that their eyes are moist. Like the goldfish, he was picked up by Renee while struggling.
Goldfish that have come back to life, hedgehogs who died unexpectedly, Paroma, or concierges, are on the same path in salvation and self-help. I can see the fate of other people's foreheads clearly, and in fact, I firmly believe in the fate of my own forehead stickers. The girl thought of herself as a goldfish, wanted to end early in the glass jar, saw the hedgehog walk out of the room to let down her guard, and should be saved like the goldfish.
With Ozu, the three become each other's light, not a wounded animal licking each other's wounds, but a hiding place to share. "You can be friends, or you can be any relationship imagined above this." "What matters is what people are doing in the moment of death, René, what you are doing, what you are preparing to love."
The girl with the eccentric genie is introduced from an antisocial perspective, using the girl's camera as a pen to persuade the reader to approve of the girl and become curious about the hedgehog. Curious, let the hedgehog intervene in Ozu's life.
Japanese cuisine, Go, and film are added to distinguish the tone of the film from the previous paragraph. The girl's curiosity makes her change from observation to empathy for the hedgehog, with the hedgehog as the main line, returning to the girl who writes.
The top-down perspective is too strong, as if the concierge has to be seen and recognized by high society, and her elegant side exists. The fate of different classes is like being stuck, and the granddaughter of the rich is bound to experience a political marriage, worth hundreds of millions of dollars but suffering for a lifetime.
Middle-class families are sensitive, fragile and vain, and the concierges are fat and rude and ugly, but anyone who jumps out of the frame of fate is the elegance of a hedgehog. Even through the perspective of a twelve-year-old girl, the film is still slightly thin, and the sense of literary and artistic picture is full.
The love between the Japanese rich and the ordinary concierge is full of dreams, and at first glance it will feel that it is just the imagination of romantic literature, but the sentence "unfortunate families have their own misfortunes" naturally answers, and they like a book and watch a movie together, and they are amazed that we are the same kind of people! It also leads to the belief that this love exists realistically, because literature has no class.
The elegant woman in the concierge who eats chocolate and drinks hot tea and holds the cat reading. She is a gentle and elegant woman at heart, but as a concierge she hides her true self in a place where others can't see, and the girl and the concierge are the same people who can understand her.
They longed for free and savage growth, but reality imprisoned them, and the little concierge was like a cage, imprisoning their bodies and imprisoning their souls. When someone who could understand her appeared, the concierge gradually released himself. The inherent feeling of inferiority is the beginning of love, learning to accept that love instead of being worthy of that love.
Paloma said to Renee, you've found a good hiding place. She runs the classic image of a concierge. Inaccessible, full of thorns. Silently preserving his self-esteem behind his back, guarding his hiding place.
Renee, what were you doing in the moment of death? You are ready to love. How did Mr. Ozuglang feel when he took off his suit, covered Renee, who had died in a car accident, and then sorted through her collection of books and gave the set of Anna Karenina to Paroma? Accidents come so suddenly, life always does.
Behind that door was Renee's undisturbed inner world. However, the elegant hedgehog did not usher in the moment of bloom. But at the last moment of her life, it was to save people; at the same time, she had decided to love well. Who can say that her life is meaningless?
Thank you for watching, paying attention to me, and taking you to learn more entertainment stories!