Everyone likes to celebrate good love, but what is love? This is an open question, there will naturally be an open answer, if you think that love is the mutual liking of both parties, then Liang Zhu's love is commendable, then Pan Jinlian Ximen Qing can only be called hooking up into adultery? If love requires both parties to have a high moral cultivation, then a lot of desperate elopement can only be called impulsiveness? What is love, there is no answer to this question. It can set up some emotional examples by comparison, but we can't give a thorough answer to which is better or worse.
The film recommended to you today is a horror film, but the core of this film is to discuss with us some emotional cases, what is love or what is emotion, this film does not have a big exact judgment, the answer emerges from the heart of each audience.
Nagisa Oshima's thriller The Undead of Love is about a derailment, is a rickshaw driver, and his wife Ashi, although older, still has charm. The life of the beautiful Ashi and Iizaburo was originally very calm, but the appearance of the prodigal son Toyoji broke this calm. The following story basically did not come out of the audience's psychological expectations.
When Ashi and Toyoji hook up, Isaburo becomes a thorn in their eye, and as Toyoji's impulse reaches a certain level, a vicious plan is born. Ashi and Toyoji teamed up to kill Iizaburo and threw the corpse into the dry well. Asi and Toyoji, who seemed to have solved a big problem, were not happy for long, and Isaburo's soul gradually drifted in Ashi's house after the third year, and Toyoji and her affairs were about to be exposed. Where do two people go from here?
Nagisa Oshima tells the audience a simple love story, if this love story is judged by moral standards, there is no doubt that there are too many such stories in ancient China, and almost all of them have a quota of women colluding with their lovers to murder their husbands. Pan Jinlian Ximenqing's story is like this. But at the same time, Nagisa Oshima does not judge such stories with traditional moral concepts. Instead, it gives an open space to re-sort out the logic inherent in this type of story.
Of course, we can't ignore the release time of this film, in the 1970s, the international ups and downs were turbulent, and the changes here are about the ideological world. All kinds of independent thinking continued to emerge, and the whole world began to blossom. In the world of thought, in action, almost all the young people in the world began to think independently about the future of human society. As the aggregator of the art world, film art began to take on more responsibilities. As a result, the French New Wave arose, and Nagisa Oshima borrowed the residual warmth of this new wave to combine this trend of thought into his own works. Therefore, in the works we see, more is a reflection on reality, and if we look at the problem from another angle, perhaps the answer will be clearer.
The title of "The Undead of Love" is very interesting, undead and love are two words that do not seem to be of much harm, but when these two words are combined, we can see its deep meaning, especially after we have run through the whole story, this meaning is even more obvious. Isaburo is such an undead, and an undead with deep love. If we only regard the undead of Yisaburo as a symbol of infatuation, then this film is likely to develop in the direction of bitter love drama, but from another point of view, the existence of Yisaburo is like a shackle, then who is the undead of love imprisoned? Is it Ashi or Toyoji?
Japan is a patriarchal society, and the status of men in the family is needless to say. Many times, Japanese men are dominant for women, and women are basically depressed about their personality. Women don't get more of a gender dividend, and after marriage, they become completely dependent on men. Ah Shi didn't have her own emotions before, and she didn't think too much about her own emotions, because her world revolved around Inzaburō. Everyday life is to be kind to Yi Sanlang, and making Yi Sanlang comfortable is the meaning of Ah Shi's existence.
However, all this was broken by Fengji, and his appearance once again ignited the fire of desire in Ah Shi's heart, which was partly physical and partly psychological. For the first time, Ah Shi felt appreciated, valued, and needed. This is something that Isaburo did not bring to her. On the surface, it seems that Ah Shi and Toyoji have hooked up and committed adultery, but when we see the second half, the appearance of the undead spirit of Isaburo does not punish the man and woman expected, but only continues to appear and disappear, which is the most deadly for Ashi and Toyoji.
Iizaburo did not kill, but achieved more serious consequences than killing people, and Ashi and Toyoji seemed to escape punishment, but they suffered more serious consequences than punishment. Such gains and losses cannot be judged by normal ethical logic. Because in the set of this film, what is shown is a picture of depression like a boulder pressing on the chest. The whole society, like the undead of Isaburo, suppressed Ashi and Toyoji, and they were doomed to escape.
When Nagisa Oshima told this story, he did not take sides with who was right and who was wrong, but adopted a new perspective to deal with this simple story logic, Ashi and Toyoji were not tolerated by traditional morality, but was it feasible to break through such moral shackles? Nor can it be, people caught in a dilemma often do not see who can give a definite answer to the future and the present.
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