Good movies are often full of staying power, and "Bouquet of Love" is like this.
The film's screenwriter, Yuji Sakamoto, who wrote the classic 1991 Japanese drama "Tokyo Love Story" and was also the author of the new recent drama masterpiece "Nagako Soybean Field and Three Ex-Husbands". Yuji Sakamoto has always been sensitive to the subtle emotions between men and women, and has the sensitivity of "Shunji Iwai in the screenplay world".
"Bouquet of Love" tells the story of two literary and artistic young people, Yama nomi Mai (Sugata Shohui) and Yatsuya Silk (Jun Arimura) from college to society for five years of "love long run". The two met each other because of a chance missed car, and then fell in love and promised to stay together for a lifetime.
Unfortunately, the sweet enemy of love is not the chai rice oil and salt of life, and the two souls who are compatible with each other are gradually drifting apart under the pressure of reality, and this relationship is finally like a withered bouquet.
If you look at it from the story level alone, "Bouquet" can only be described as "unremarkable", and even some clichés.
Such a theme is commonplace - meet a person who is 100% similar, at first sight, and plunge into the sweet vortex of love, but love is never like glue every moment, you are thick and self-reliant, tired of being bored for a long time, and parting ways. Life has long been commonplace, casually open a TV emotional program can see similar cases, even more than "bouquet of love" more ups and downs.
Such romances are common, but they are difficult to write. Everyone experiences love and is qualified to express an opinion on love. But films like "Bouquet of Love" are not vulgar and extremely empathetic, and are not common.
"The most beautiful moment is not a love affair, but the moment when someone suddenly breaks into your heart, as if you have a new world, making people believe that all the scripts are written for you and me." 」 "Bouquet of Love" is such a beginning, the love sinus has just opened, and everything is just right.
It does not appropriate or copy the high concept of any commercial genre film, but instead discusses things, writes the true appearance of love, and uses the narrative mode of "chronicle" to flatten the love experience of the two lovers in five years, and Yuji Sakamoto weaves a lackluster love story with superb screenwriting skills and careful observation of life.
The love of those ordinary people can also be vulgar but bearable, vulgar and lovely, and vulgar and not bad. Authenticity is fundamental to this film's "vulgar but bearable" story. For any story, making the audience believe in its existence is fundamental.
"Bouquet of Love" seems to be like this, everyone who has love has had such feelings, there have been warm moments, the mood of meeting a lover is like opening Pandora's blind box, meeting people who resonate with their emotions and share their hobbies. It's just that the switch of sharing desire and resonance desire always has a rusty moment. Tiredness and submission are the essence of life.
At first, I thought that the other person would like, understand, and understand, so I shared with the other party those flash moments or trivial moments that I thought were insignificant in my life, hoping to get a spiritual response, which was initially based on mutual understanding between the two.
But as it is said in "Chongqing Forest", knowing a person does not mean anything, he may like canned pineapple today, and tomorrow he will like something else.
So when the female protagonist silk saw that the bakery where the two people went together went out of business, she sent it to the male protagonist Wheat, hoping that the other party could experience her own sense of loss and the sweet recollection of the past, but it just did not, just like shouting a word loudly against the cliff but there was no response, and the wheat said that it was okay to go to another bakery.
Silk's attachment to the bakery, Wheat does not understand. The elders of the wheat left, and the silk did not give the wheat comfort. Mutual incomprehension and difficulty in empathy are the beginning of the long-distance rift in this love.
One is busy at work, one wants to do what he loves... The details of a chicken feather finally defeated love.
At the end of the film, there is a point worth paying attention to - the difference in thinking in the relationship between the sexes. Silk can't understand how a boyfriend who hasn't had sex together for three months proposes to get married, and the male protagonist, Wheat, can't understand that ming has been together for so long, and they have worked but still have to maintain the love state of the student era.
Sex wants to fall on the attention to detail, the resonance of emotions, the sharing of continuous sexual interest; men feel that the companionship of day and night is good enough to live a good life. If you are eager in love to make a long and interesting trek through language to get to know each other, you will face a great risk - that is, the disappointment when you reveal your desires, but they are ignored; when you share what you like, you are returned to the indifference.
As for "trying to maintain the status quo" in love, it is a personal problem.
Even so, Yuji Sakamoto's script still makes people see the most beautiful look in love, the most helpless look, both beautiful and sad, beautiful and futile.
As a woman, I personally still hope not to use "have been together for so long" and "can't find such a good" as a reason to continue to be together. Marriage is a liability or a bond, not an insurance.
Yuji Sakamoto's vigilance against women is probably here.