The "all-armed action" that shocked the melon-eating people around the world at the Oscars ceremony ended today with Will Smith's apology on all platforms.
Even Weibo is not missed
But what Uncle wants to talk about today is not this.
Another topic that people around the world are looking forward to is who will spend the "Best International Film" award, and the answer is
- "Driving My Car.".
This work, which has swept the International Film Critics Awards and major film awards in Japan in the past two years, has almost unsurprisingly included the oscars of the little golden man.
He whispered that this year's representatives of China's Chong Olympic are "On the Cliff" in the mainland, "Mother's Mysterious Boy" in Hong Kong, and "Waterfall" in Taiwan, but unfortunately none of the three films have been shortlisted
The film is adapted from one of Haruki Murakami's novel collection Men Without Women, in which the heroine Dori, as a professional driver, has a taciturn and mysterious estranged personality.
Tori played by Toruko Miura
Compared with the gentle and considerate Yamato Fumiko written by traditional Japanese male writers, Haruki Murakami has a more delicate and respectful insight and portrayal of women.
They all have the beauty of independent and strong personalities.
"Reluctantly, I don't think I'm bothered by the so-called beautiful woman with a dignified appearance.
Relatively speaking, I still like a somewhat flawed personality face shape——— there is a kind of imposing beauty. ”
Actresses who have played Haruki Murakami's works: Yoshida, Kikuchi, Mizuhara, and Jeon Jong-sui
Today, let's talk about how the imposing beauty of this personality is full of irreplaceable charm?
Why is it that Haruki Murakami's aesthetic, while it is so difficult to achieve visualization, has also attracted generations of famous directors to be eager to try?
01
Women who have a flawed beauty
The women of Haruki Murakami can be said to be representative of the aesthetics of Japanese postmodern women, and this flawed beauty is first reflected in their relatively marginalized social identity:
Dance! dance! dance! the call girl and the hotel waitress;
Ear molds with beautiful ears in "The Adventures of finding sheep";
In "1Q84", Qingdou, who has both a fitness instructor and an assassin at the same time...
"Hanalei Bay", the single mother who lost her son, Yuki, Yoshida Sheep
"Burning", the lonely and poor "she", Quan Zhongrui
"Tony Takiya", a morbid shopping wife, Riki Miyazawa
The beauty of flaws is followed by appearance.
Most of the actresses who can play the roles in Haruki Murakami's books do not meet the worldly standards of "beauty", but they all have indescribable beauty.
They usually have some kind of flaw in appearance, their facial lines are cold and detached, and their temperament is mysterious and mysterious, and they are not typical Japanese beauties like Yamato Fumiko.
The contrast between Miyazawa's years is a reflection of the change in temperament from Yamato Fumiko to Murakami Haruki-type beauty
In "Driving My Car", the taciturn driver girl Dori is described as follows:
"There was an olive-sized purple mole on the right side of her neck, but she didn't seem to feel any resistance to its nakedness...
There are some acne marks on the cheeks, the eyes are quite large, the eyes are clear, but there is always a suspicious look. ”
But it is such an inconspicuous and dull person who allows the family fortune of losing his daughter and wife one after another to reveal his heart and pour out his most difficult secrets and confusion.
But whether it is quiet and self-sustaining, or wandering, or naïve;
The women in Haruki Murakami's writings all have a deep rebellion that is never docile, that is, the beauty of a flawed personality.
In Norwegian Forest, the erratic Naoko has "small cold hands, long hair that feels soft and smooth to the touch, soft and round earlobes, and a small mole under the earlobes."
Rinko Kikuchi plays Naoko
In addition, she also has "the quirk of staring into each other's eyes and asking questions, and the voice that trembles when there is nothing to do."
Represents a typical introverted soft gloomy cold dark beauty.
The enthusiastic and cheerful green child is like a small animal that returns to the earth in the early spring, and it overflows with a fresh vitality from its body.
"The pair of eyes spun around as if they were independent individuals, sometimes laughing, sometimes angry, sometimes sad, sometimes gray."
Keiko Mizuhara plays Midoriko
Wearing a short skirt in the hospital corridor, when reminded by the doctor what to do when going up the stairs, Midoriko's answer is blunt and casual -
"There's nothing to do, just let them open their eyes and see well enough."
This boldness, rebellion, honesty and unrestrainedness is simply a casual but powerful provocation to the traditional Japanese idea of women.
Haruki Murakami's works always have two kinds of femininity, dark and gorgeous.
Although it is impossible to detach from the objective male perspective, Murakami's attitude toward women is more equal and respectful than that of traditional Japanese male writers who always depict weak women.
Naoko and Watanabe
The women he writes about can often set off the fragility, melancholy or loss of men, which greatly dissolves the patriarchal impression under the male root society.
As reflected in the novel collection "Men Without Women", the absence or departure of women is the root of men's fear.
02
Redemption and healing under the aesthetics of solitude
Haruki Murakami has always been ranked among the most difficult writers to adapt video works, because the narrative logic is broken, emotional, and the style of writing is nihilistic, disillusioned, and alienated.
Loneliness is everywhere.
Unlike the beauty of Kawabata Yasunari's material mourning, Haruki Murakami's depiction of the mental state of the characters is more extreme.
Most of the characters suffer from mental illness, and their fate is more absurd and accidental.
In Norwegian Forest, Naoko lives in a spiritual sanatorium for a long time
Most of the ways they exile loneliness and escape suffering are lust and death.
In "Driving My Car", Jiafu's wife chooses to secretly cheat to relieve her pain after her daughter's unexpected death
In "Norwegian Forest", Naoko finally ends her life in the grove after her loved ones have left.
But they also strive to seek salvation outward in the loneliness of the individual.
Like the duckweed straw that drowns at the moment, even if this little hope after despair is faint and cruel, there is always a glimmer of light.
In "Driving My Car", Jiafu and Tori put their hands out of the skylight together in the car to smoke.
At this moment, the secret has a channel to tell, loneliness realizes its commonality, and an absurd and eternal romance is born.
Lonely individuals are interconnected with each other, and at some point a certain sharing of life experiences is achieved.
It is in this connection that they face the fragile and empty inner world, go to the healing path of the spiritual world, and re-embark on the long and painful road of life.
Hanaley Bay
"Tony Takiya"
"Driving My Car"
03
The difference between chinese and Japanese beliefs in life and death
Domestic writers often compare it with Haruki Murakami, but the stark contrast is Mo Yan.
A habit of achieving spiritual salvation by means of death, cut to nothingness;
"Death is not the opposite of life, but eternal as part of life" – The Norwegian Forest
One worships the liberation of the life force of the fat buttocks, exposing oppression and suffering.
This contrast between life and death reflects the differences in the roots of Chinese and Japanese national cultures.
The Yamato nation, which reveres the spirit of chrysanthemums and swords, has a devastating devotion to beauty.
They believe that death is another form of eternal life, as long as there has been a momentary bloom.
In Kinkaku-ji Temple, the monk chooses to burn the temple because it is too beautiful, so that this beauty will always be associated with himself
Ryunosuke Wasagawa, Osamu Dazai, Yasunari Kawabata, and Yukio Mishima all chose to end their lives on their own initiative, "a wordless death is an infinite life."
The Chinese national tradition emphasizes the endless life of the weeds, paying tribute to the indomitable philosophy of life that has been grinded in the rough fate.
Lu Xun's prose poem "Weeds"
But both support women's quest for self-liberation and spiritual breakthrough, and both are keen to portray women's anti-secular awakening.
However, compared with "Driving My Car", which swept the international awards in Japan today, the last adaptation of Mo Yan with this honor in China was "Red Sorghum" in 1987 more than thirty years ago.
Uncle can't forget that the tremor brought about by the abundant vitality that wants to spew out in the movie is the soul of the endless Chinese aesthetics.
In the face of today's swarm of mainstream theme fever in the film and television industry, Shu truly expects:
When the tide fades, there will be more different sounds.