Although April is not over yet, in the hearts of many drama fans, this year's Japanese drama champion has been booked by a drama.
The extraordinary gold medal screenwriter, coupled with the starring CP who continues the leading edge, although only two episodes have been broadcast, but the super high score of 9.2 has proved that this drama is stable!
In fact, there is no need to count the works of the screenwriter of this drama, Yuji Sakamoto, since his debut. When he was in his early twenties, he reached the first peak of creation with "Tokyo Love Story", and since then he has always brought a keen insight into the society into his works, always able to see the essence through the phenomenon, different parts, but also excellent works.
In his latest work, Yuji Sakamoto created a golden quartet similar to his predecessors, The Most Perfect Divorce and Quartet, but with a change in layout. Takako Matsu's soybean field played by Nagako Soybean Field with a wife and a third husband, it is simply a large Versailles scene.
《Yosan husband Yosanko Soybeanda》
2021
Director: Kazuhito Nakae / Chihiro Ikeda / Yusuke Taki
Writers: Yuji Sakamoto
Starring: Takako Matsu / Kohei Matsuda / Koki Kakuda / Masao Koda
Genre: Drama/Comedy/Romance
Country/Region of Production: Japan
Premiere: 2021-04-13 (Japan)
Episodes: 10
Douban: 9.2
How good are Yuji Sakamoto's characters?
"Caring about other people's eyes" is rendered by him into a very pleasing personality, and each character can bring the audience a surprise like a gift box.
Soy field has gone through three marriages, and her three ex-husbands all have one thing in common – they don't know why that marriage failed.
So they appear frequently, vaguely feeling that the marriage relationship has not come to an end. The three ex-husbands, as the "abandoned" party, are still trying to spy on the real thoughts of their ex-wives.
Nagako soybean field lives with her daughter.
The daughter was her child with her first husband. The three generations of women in the Permanent Zi family are very independent, her mother and husband are divorced, and her daughter is also cheerful and healthy, and has not been too affected by the incomplete original family.
In fact, Sakamoto Yuji's characters have a bit of a surreal attribute, they often pay too much attention to themselves, willing to fall into their own spiritual world, and any small feelings can be infinitely magnified.
Just as some people write diaries about the real world, others enjoy describing their relationships with the world. The latter is often a literary escape, and the audience especially likes such a scene.
Because we are all so obsessed with the buffer zone between the self and the outside world.
So the wedding is not the protagonist, but the mouth ulcer is, the small pebbles in the shoes are, the greasy floor is, the dangerous ketchup is also ...
Attending a wedding is especially painful for a permanent son who has been divorced three times. At the wedding scene, she was constantly ridiculed and ridiculed, but fortunately, she also had mouth ulcers.
There shouldn't be too many similar details in life: although today is bad, migraines are always more reassuring than facing the dilemma directly.
Moreover, in addition to attending the wedding with a hard scalp, the recent life of Soybean Field Is not very good:
Her mother died, and the funeral coincided with the inauguration of her president on the same day; she met the man she liked, only to be told that the other party was a scumbag who was accustomed to PUA.
As the company's new president, she was put in a strong position again. Becoming a "difficult" boss is not her intention, just because employees need a boss to be jealous and complain.
The surface is calm and the wind and waves are calm, the inner clouds are raining, and the misplaced screen window door pierces her fragile current situation - because installing the screen window door is a thing that needs to be done by the right people.
After talking about The Soybean Field, it's time to talk about her three ex-husbands.
She began by introducing her second husband, Shiktaro Sato.
This man seems to be a good man who loves his family and family, but in fact, he likes to be careful - please drink a cup of orange juice, and after ten years, you will remember his good.
Her first husband, Hachisaku Tanaka, was a tacit understanding of Nagako. He is thoughtful and delicate and taciturn, with a gentle and regular lifestyle.
Their relationship is very natural, like old friends and like family. Nagako is so familiar with the bathtub in Tanaka's house that she can even lie in it and sing from the ending song of "Dragon Ball" to the opening song.
With such details, the relationship between the two no longer needs to be explained in words.
The longer you spend together, the more you can understand a person's current state. Tanaka is Nagako's most trusted husband and an excellent listener. After the death of her mother, she would only mention it in front of her first husband.
The second episode of the series focuses on Shinsen Nakamura, Nagako's third husband.
As a consultant lawyer for a permanent subsidiary, he has an elite configuration and an elite pickiness.
Yuji Sakamoto accurately analyzed this type of person, that is, "the attack power parameter is 100, and the defense power is 1".
Shinsen's grasp of details and reasoning are almost the same as the life of Takahashi in "Quartet" who thinks about whether to squeeze lemon juice or not.
Yuji Sakamoto is particularly good at putting these awkward tirades on the table, which can be described as the only one in the screenwriter.
According to the existing plot, the character of Shinsen Nakamura has been portrayed quite successfully.
He was so critical that he looked like a successful person, in fact, he took the exam for several years to become a lawyer, he was not good at sports since he was a child, he couldn't even shoot basketball, although he was handsome into a flower, he started to frustrate like a thief...
But adult flaws are often frozen, let alone for whom to change themselves.
She missed her ex-wife because she had been truly happy.
Yuji Sakamoto made a "triple emphasis" in his lines, which made the cold-hearted man exhaust his vocabulary, which was quite moving.
Even for couples who have been separated for a long time, Yuji Sakamoto can write about feelings of heartbreak, and only use a small sofa as an intermediary.
The couch was picked up by the two men from the side of the street. Originally, the sofa was a large object that would not be easily moved and disposed of, but when Yongzi did not want to have anything to do with Shinsen, it became a burden in the house.
Persetron decided to throw it away, but the sofa leg grew so long that the three women worked together to saw off the sofa leg.
Throwing away the couch was originally a very "sassy" way of dealing with it, but with this detail, Nagako has a bit of a gray face on her body - it turns out that she is also an emotional runner.
As a party to that relationship, when Shinsen saw the abandoned broken sofa, his mood could be imagined. But when he questioned Nagako about this, he did not directly express his feelings of loss, but kept saying that this sofa had one kind of use or another.
What's interesting about the show is that whenever a new plot is unlocked, the audience can also rediscover the details hidden in the old plot.
In the first episode, the second husband sits on the small couch and takes off his socks, saying that he misses home, but when he sees his ex-wife's angry eyes, he puts the socks back on.
At the time, I thought that Nagako was disgusted with his sense of no boundaries, but when I saw the second episode, I realized that it was actually because he was sitting on a small sofa related to Shinsen. The memory of this sofa does not belong to the second marriage relationship.
The three ex-husbands carved up the three lives of the permanent son, and they could never reach a consensus.
In addition, what I enjoy the most is actually watching the wonderful pen in the play.
For example, when talking about the most urgent things, Yongzi touched the toy rabbit that could play music.
At this moment, the characters seem to be out of the plot, not only bringing absurd laughter, but also "flirting" with the usual plot.
In fact, if there is no restless rabbit, the ex-husband's regretful line will not appear abrupt. But if you just write it this way, this scene will not only not be cute, but will have an anachronistic seriousness and heaviness.
Yuji Sakamoto's characters are often somewhere between embarrassment and helplessness, and they are both the perpetrators and victims of the "cold field".
Perseko goes to find her first ex-husband, and before she can meet, she is forced to become a spectator in a private space— locked behind the door to watch her ex-husband being slammed by a woman.
What is the probability that such a plot will occur in real life?
Almost nothing.
But in Yuji Sakamoto's script, they can happen.
Just like when you hear that your ex rejected a person, your mood at that time is probably no different from the heroine hiding behind the door.
Yuji Sakamoto has theatricalized various subtle psychological states.
Yuji Sakamoto has long been named the "King of Golden Sentences" by fans, but golden sentences also have high and low standards, and even have personalities.
Usually, the role of the golden sentences is "cork", which will protect the overall structure of the play and cover up the miscellaneous smells.
But in Sakamoto's lines, half of them are precise insights, half of them are "expectations about the beauty of things", and his golden sentences are very pure.
The concentration of the golden sentences in the play is also indicative of the fact that Yuji Sakamoto uses it without any heart. He has the ability to use the mouth of the character to persuade the audience to affirm himself, and he also has the ability to make the audience gently criticize himself.
The following line about "kindness and intelligence" is wonderful. The reason why this sentence has no sense of enlightenment is because it is said unconsciously by the character, or from an unlikely person, such as the character of Ichikawa Shimichi, who is idle and wise.
Watching this Japanese drama, the audience can enjoy the most twisted but also the most interesting metaphor.
Yuji Sakamoto seems to be able to connect the human state to everything in the world, and this sense of direction is the most rare.
For example, ex-husbands scold each other when they argue: "Whether it is the rotten egg the day before yesterday or the rotten egg yesterday, it is a rotten egg."
Or compare your relationship with your ex-wife to "taking the Shinkansen to Kyoto", one getting off at Nagoya, one getting off at Shin-Yokohama...
The Japanese critic Tokihiro Uno once said that it would be more accurate to call Yuji Sakamoto a "representative of the theatrical school", and that his strength was that he "could see the subtle transformation of the everyday and the non-everyday, and achieve a deeper social significance".
For perpetual son, the failure of marriage is a fact, but how to create a whole new relationship in the midst of a messy entanglement is the real theme.
Her life is not only the choice of "compound" and "renunciation", the relationship between the "old world" and the "new world" is not actually a drag on each other.
Losing in front of a person, a new choice, and having a new resonance, whether it is a shortcoming or an advantage, will be re-examined, this is the practical skills that people open up.
Just like the four characters in the play, they may have also tried to find reasons for some regrets and wanted to ask the truth, but if everything is going to go in a good direction after all, the answers that constantly mislead people into giving up happiness are not necessary, aren't they?
· THE END ·
This is the original article of the 1455th issue of "Not Scattered", and tomorrow I will go to work and have fun
Get together sometimes / the movie doesn't break up
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