Zhang Ailing has such a passage in the novel "Red Rose and White Rose": "Maybe every man has had two women like this, at least two." Married to a red rose, over time, the red changed a touch of mosquito blood on the wall, the white is still "the bright moonlight in front of the bed"; married to the white rose, the white is a grain of rice sticky on the clothes, but the red is a cinnabar mole on the heart. ”
Since then, "white moonlight" has been used to refer specifically to people or things that cannot be reached in the heart, and have always loved but cannot be touched. The heart of the heart, the first love that can not be forgotten, like that white moonlight, infinite yearning, but broken liver and intestines.
Zhang Xinzhe sang "White Moonlight" with his own unique voice, and once became the annual golden song of MusicRadio China TOP List in Hong Kong and Taiwan.
Every time I close my eyes and loop the single, I will have a different sentimentality in my heart: "White moonlight, somewhere in the heart, so bright, but so cold." Everyone has a period of sadness. I want to hide, but I want to cover up. White moonlight, illuminating the two ends of the world. In the heart, but not around. Wipe it dry, your tears at that time. The road is too long to recover forgiveness. You are me, unspeakable wounds. I want to forget, and I can't help but think back. Like exile, stumbling all the way. Your bondage cannot be released..."
In everyone's heart, there is a touch of "white moonlight", no matter where she is, where her heart goes, that attachment and concern will always be swollen and difficult to release. In the 1980s, an era of material scarcity, it was still a challenge for many families to eat and wear warmly. If there is a black-and-white television set at home, it is the envy of the whole village.
As everyone knows, as soon as a Japanese girl appears on the screen, she captures the hearts of men, and she does not think that the perfect goddess in her heart will really exist. Kurihara Komaki, a name that many Chinese feel unfamiliar to, became a household name in the 1980s.
According to the Naming Habits and Cultural Customs of the Japanese, you will find that it is rare to use the word "small". "Wokou" is named because of its short stature, and it is not difficult to understand that the word "small" is not used. But Kurihara's father, Kurihara Kazuno, is very open-minded and has a very positive mentality, and as a playwright, his thinking is very avant-garde. Giving her daughter this name implies friendship, peace, and hopes that her daughter will become a small volume of joy.
Living in such a book-scented family since childhood, it is natural to be arranged to learn a variety of artistic skills, such as violin and ballet. Both of these occupy most of Kurihara's childhood life, and after becoming literary and artistic, it is indispensable to continue to strengthen professional skills training, which is the guarantee of temperament.
Therefore, after graduating from the Tokyo Ballet Academy in 1963, Kurihara immediately entered the Haiyuza Actor Training Institute to study acting.
Not to be left behind in the spirit of learning, Kurihara's academic performance ranked among the best, and in 1964, during her studies, she received "Rainbow Design", when she was only 18 years old, what a gorgeous age, what a flower-like girl.
No one ever thought that this actor, who was still learning, immediately captured the audience's heart as soon as he appeared on the screen. For this reason, the Japan Film Production Association Newcomer Award was awarded to the young girl. This is not only a recognition of Kurihara's acting skills, but also a great encouragement.
In the years that followed, Kurihara opened the crazy acting mode. In 1967, he starred in the Big River drama "Three Sisters" for the first time. In 1972, she won the Best Actress Award at the 27th Mainichi Pictures Awards for her romance film "Love of Oshawa".
From "Moscow Love" in 1974 to "Life and Death Love" in 1979, to "Wangxiang Star" in the 1980s, "Good People in Sichuan", "Bells of Qingliang temple" and so on, Kurihara Komaki transformed from a pure actor into a messenger of Sino-Japanese cultural exchanges. On October 19, 2008, it won the Japan-China Friendship Exchange Promotion Award.
As her name suggests, her father pinned her hopes on friendship and peace, and kurihara came to China the year after kurihara's "Wangxiang" was released in China to carry out cultural exchanges. On October 18, 2011, he also attended the 55th anniversary of the establishment of the Japan-Chinese Exchange Association.
From 2012 to 2016, I visited China 36 times before and after, and I saw her figure in the drama, which was still so familiar and charming. Even the great writer Ba Jin said: "If I hadn't seen Wangxiang, I probably wouldn't have written the five-volume Caprice." It can be seen how influential this screen goddess of the 80s is.
But Kurihara has always been like that "white moonlight", even though she is the goddess in the hearts of the men of the times, she is still single, and her former followers have long been full of children and grandchildren.
Asked why he never married for the rest of his life, Kurihara said four words: "Marry art." Yes, she married her whole life to art, dedicated to great art. In fact, women with strong entrepreneurial spirits in Japan are difficult to accept, and cultural concepts have long been deeply rooted.
Men are responsible for earning money and supporting their families, and women are only responsible for being beautiful as flowers. Kurihara Komaru is completely different, she is not only beautiful as a flower, but also a very successful winner in life in her career, the only regret is that she did not find a true lover to work together to build a small family of her own.
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Kurihara's small roll, her soft eyes, light posture, elegant movements, like a dream floating through those romantic feelings dominated by the years. She is so subtle, sexy of sex, woman of women. Because of this, her life has become a "white moonlight" that can only be viewed from a distance.
There are nine times out of ten people who are not satisfied with life, the goddess has also had a relationship, and takeshi no self eventually broke up happily, and love failed to overcome Kurihara Komaki's strong sense of enterprise. After this, she decided to marry herself to art, and along the way, decades of time flew by, achieving a generation of fanghua, but withering away from the prosperous face.
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