After separating from her husband, Sanae came to Work at Yin House and had a good feeling with Ah Yin. After Early Miao's divorce, he took the initiative to confess to Ah Yin. But when Another suitor of Sanae appeared, Ah Yin once again backed down
The Story of Injiro Manga No. 22
Many years ago, on a skipping afternoon, in a dilapidated palace of culture, I watched a movie starring Ken Takakura, The Tavern of Shōji (1983). At that time, Ken Takakura was a male god in the eyes of Chinese film fans. "Cold and tough", "silent and resolute", "iron man tenderness" are all labels attached to him, and he even redefined the aesthetic standard of "manhood". But in that film, I was tired of Takakura's aesthetic fatigue, but I was very fond of the female lead actress Reiko Ohara, who played the role of a small night wandering ghostly walking on the edge of The life and memory of Saji (Takakura Ken), adding a poignant and sad color to the film. Her beauty is breathtaking.
In "The Tavern of Shōji", the melancholy beauty of Reiko Ohara is breathtaking
Later, when I came to Ichikawa Kun's "Prison Gate Island" (1977), among the stars, I still prefer to play Reiko Ohara, who was at the peak of her appearance and entered the painting. Yoji Yamada may have been impressed by this role, and the following year invited her to star in "Injiro's Story 22: The Legendary Injiro" (1978), and deliberately followed her role name "Sanae" in "Prison Gate Island". At that time, Reiko Ohara had just come out of the shadow of illness and divorce, and she used her own life insights to dialogue with the characters' hearts, giving "Sanae" a vivid and vivid charm.
Reiko Ohara in "Prison Gate Island", the appearance of the same film Qunfang
In my mind, so far, Reiko Ohara is the most beautiful "Ingiro" in the "Injiro" series. If kurihara's appearance is eye-catching, and Yoshinaga's appearance is heart-wrenching, then the first appearance of Reiko Ohara is trance-inducing. It is like a hazy illusion in a drunken eye, and it is like a vague shadow in a shaky shot, which is beautiful. When the focus is on reality, her beautiful face is still unreal, difficult to capture, like a dream. She is the most perfect actress who combines melancholy and nothingness, juanxiu and femininity.
The beauty of Reiko Ohara gives people the feeling of trance, which is a high realm
Since the beauty of Reiko Ohara is difficult to describe, let's go back to this film first. The Story of Injiro 22: The Legendary Injiro is steeped in Buddhism. In the prologue dream, Jizo Bodhisattva appears, incarnates as Ah Yin, and saves the Sakura family; at the beginning of the main film, Ah Yin returns to Shiba and goes straight to the temple cemetery to worship his father, and happens to meet his uncle Sakura, and the whole family asks the abbot to do a ritual for the deceased; after running away again, on the Penglai Bridge (the world's longest wooden bridge) in Shizuoka Prefecture, Ah Yin meets a foot monk wearing a bucket hat (Hideharu Otaki), who says that he has a female difficult appearance on his face (peach blossom robbery). Ah Yin was deeply impressed, and admitted that he had ordered Peach Blossom from the day he understood things. This is the source of the first time in the "Injiro" series that The road to Domin Ain is bumpy.
On the longest wooden bridge in the world, Ah Yin meets a mysterious walking monk
The sound of "The Face of The Woman", Ah Yin met the frustrated mature woman Ah Hitomi (Izumi Pinzi) at the Yanxiang Reservoir in Shizuoka Prefecture. Hitomi had just encountered a lover's leg splitting, crying and weeping. Ah Yin was kind enough to invite her to eat Oden and patiently enlightened her. Ah Hitomi's mood was relaxed after the meal, and he said goodbye to Ah Yin after saying thank you. Ah Yin's heart was not alarmed, there was no nostalgia, not so much jealous of the peach blossom robbery, but rather that Ah Hitomi's posture did not enter his eyes. Don't look at Izumi's appearance is average, her status in the Japanese showbiz circle is not low, and her singing and acting are excellent. The song played in ah yin's restaurant was her masterpiece "Mourning Butterfly". She also played Ashin's mother in the Japanese drama Ashin (1983).
Ah Yin invited a lovelorn woman who met in Pingshui to dinner, but he was not moved
The coach walks on the Kawane Bridge in Shizuoka Prefecture. Inside the carriage, Ah Yin, who had only 500 yen left in his wallet, met Abo's father, Suwa Shoichiro (Joe Shimura). The two were very happy to see each other. From this moment on, the film became interesting. Seven years ago, "The Story of Injiro 8: Injiro's Love Song" has revealed that The identity of Shoichiro is a professor of ancient Indian philosophy. Now that he is retired, he has money and leisure, and his interest is to search for ancient temples and temples in various places and read ancient Buddhist scriptures. On this trip to Kiso Road in Nagano Prefecture, he visited Myokjue-ji Temple and Dingsheng-ji Temple, and the harvest was full. In addition to sleeping in the taxi, Ah Yin was bored wandering in the courtyard.
Joe Shimura, who has been a god of acting, starred in the movie "Injiro" for the last time
On the eve of his parting, Saichiro told Ah Yin a Buddhist story from "The Tale of The Past and Present", there was a beautiful man in ancient times, and one day he met a rare beauty in the world, and he immediately fell in love. After doing everything possible to chase her in the hand, he married her. Unexpectedly, less than a year after marriage, his wife who was suffering from death died of illness. Half a year later, the man could not forget his wife's beautiful face. So he went to his wife's grave to dig up the coffin. But what he saw was a pile of rotting pieces of flesh. The man felt the ruthlessness of the human world, and turned to the empty door, focusing on the Buddha. This is after telling the story of "Gentian Flower" seven years ago, and Ichiro once again ignited Ah Yin. Ah Yin listened to this and decided to reflect on his life.
Shoichiro tells Ah Yin a Buddhist story from The Tale of Present and Past
Tales of The Past and Present is a collection of Japanese folktales from the Heian period, divided into Buddhist and secular stories. This "Japanese "Heavenly Night" provides inexhaustible inspiration and materials for Ryunosuke Wasagawa, Junichiro Tanizaki, Yume pillow tapir, Horiko Tatsuo and others. Ryunosuke Wasagawa benefited the most, with about one-fifth of his works taken from The Tale of The Past and Present, in which the short stories "In the Bamboo Forest" and "Rashomon" were combined by Akira Kurosawa to create the world-shaking film Rashomon (1950). One of the main actors in that movie is Joe Shimura, the spokesperson of "The Tale of The Past and Present" in this film.
Joe Shimura has acted in "Rashomon", which has a deep relationship with "The Tale of The Past and Present".
The valuable thing about this film is that it not only exudes the charm of magnificent appearance, but also shows the infinite soul of the soul. The owner of this soul is Joe Shimura, the god of acting in the "Injiro" series. Even Atsumi Kiyoshi is dwarfed by his "Elephant Invisible" performance. His late performance style, similar to Wei Heling in Sun Yu's famous work "The Legend of Lu Ban" (1958), looks simple and clumsy, but is actually thick; it looks like wooden, but it is actually exquisite; it looks chaotic, but it is actually precise. There is a kind of charm of "the spirit of communication with heaven and earth alone".
Shimura Qiao's performance style in his later years is a bit like that of "LuBan" Wei Heling
Years later, when Ah Yin walked on the edge of life, he must not forget the morning when he first saw Sakae. Sanae is a house attendant recommended by an employment agency. She was separated from her husband due to emotional discord and now lives in a friend's house. Like Yukiko (Waruo Fumiko) in episode 6, she is an awakener who breaks through the shackles of male power and pursues female self-awareness. Ah Yin, who wanted to leave home, was scattered and shocked. So, he pretended to be ill and lay in the Yin House and did not leave. In this situation, the warning of the "peach blossom robbery" has long been thrown out of the cloud of nine clouds.
Ah Yin, who was about to go out, saw Hayanae for the first time, stunned, and shocked
The speed of the two people's relationship is beyond imagination. After Sanae officially completed the divorce procedures, she burst into tears and was miserable. The Yinwu family stayed for the early seedling dinner, and during the banquet, Ah Yin led everyone to have fun and make her happy. Sanae was touched and had a further affection for Ah Yin, and then confessed to Ah Yin with true feelings at the time of parting, "Ah Yin, I like you". This bold and straightforward move is somewhat unreasonable. Not only was Ah Yin ashamed and embarrassed, but even his aunt felt strange. But if you think about it, Sanae's handling of separation, job search, divorce, and even later away from home has exposed stubborn, easy-going and willful personality traits, which cannot be hidden by an easy-going and humble appearance. What is unreasonable is often closer to the truth.
After Sanae's divorce, she boldly confessed to Ah Yin, "I love you"
Just as Ah Yin and Early Miao were getting better, Ah Yin's love enemy appeared. This Timada (Murata Sunrise Male) is Sanae's cousin who teaches at a high school in Tokyo. He had a crush on Early Seedling for many years, until she agreed to divorce before she made a veiled confession. But Early Seedlings is not cold to Tim Tian, and his face is cold. The lost Timada decided to leave the sad place and return to his hometown of Otaru to teach. When parting, he asked Ah Yin to take care of Sanae and left a million yen passbook for Sanae.
Ah Yin's love enemy is Sanae's cousin, who left swastikas of money for Sanae
Intermarriage between cousins is not feasible in China, and the Marriage Law explicitly prohibits it. However, Japan's Civil Law not only allows cousins to marry, but also to marry half-siblings (siblings). In Naruse's Herring Cloud (1958), the eldest, Eisen (Katsura Kobayashi), marries his half-sister, and Michiko (Siyezi), who has emotional ties with the second and third elders, is also their half-sister. I watched it several times before I cleared up the complicated "chaotic" relationship, and that time, how to get a "ignorant" word.
Herring tells me that half-siblings can intermarry in Japan
Ah Yin once again backed down. He persuaded Sanae to return home with his cousin, while he ran away silently. At this time, his mood is mixed, the beauty of adulthood is caused by nature, and the inability to do so is a sad reality. On the other hand, the psychological hint of circumventing the "peach blossom robbery" and the far-reaching story in "The Tale of The Past and Present" are also the root causes of his cutting off the emotional thread. With the immersion of Buddhism, this time, Ah Yin was calm and unrepentant.
Meeting the foot monk again, Ah Yin folded his hands and felt grateful
At the end of the film, the picture of Otaru appears for the third time in the "Injiro" series. In winter, Otaru, red walls and white tiles, still canals, fairy tale atmosphere. No wonder Shunji Iwai chose the winter scenery here to shoot the extremely romantic "Love Letter" (1995). Sanae also sent a "love letter" from here, and the words still revealed their reluctance to Ah Yin. Come to think of it, her cousin is not the end of her fairy tale.
Otaru in winter is a fairytale wonderland in the minds of countless tourists
Nor does Reiko Ohara's fairy tale have a happy ending. After two divorces, she was alone and sad to die. She was found dead at home in August 2009, three days after her death. Even the most beautiful skin bag can't avoid the end game of jade flowers disappearing and unrecognizable. Isn't this the lament of the beautiful man in "Tales of the Past and Present"?
Even the most beautiful skin bag can't escape the end game of jade flowers
"Color is emptiness, emptiness is color", Ah Yin hung these eight words on the stall, I think this is also his reference to love. Isn't it more than love? Everything will eventually be empty, and everything in the world will not need to cling to it. Only when the mind is free of distractions will it reach the true state of natural leisure. But how many people can do it? (Author: Autumn Wind, to be continued)