Quote: "Will there be any bastards like us?"
In everyone's life experience, we can hear the common name of society for a group with common characteristics, in such a concept of identity there is no clear boundary range, but under some similar "events" such a group of "parties" are integrated. From childhood to adulthood, "bad boys" are one of the archetypes of this kind of public evaluation. Where the "bad boys" are bad, how their youth is, and what is the spiritual world, in the film "Bad Boy Sky", the director shows us the real side of their lives in semi-autobiographical form.
The film tells the story of two boys who can fight and play with each other in their youth, they are frustrated while searching for each other in their lives, while becoming marginal beings in the eyes of everyone, and at the same time becoming the object of identification in the "same kind". The film rationally summarizes youth with a full of human colors, and the story presents us with not only the life trajectory of the protagonist and the two people, but also other people who intersect with them, and the existence of those people constitutes one of the cruel truths of growing up.
"Since the mid-20th century, films have appeared in large numbers in the geography, sociology and architecture of cities. Film and architecture establish a new connection based on everyday urbanism. The "film" here is no longer a "universal language" but as a "dynamic trajectory of living space and life narrative". It is no longer abstract, perceptual and directed art, but psychological and presented by the individual experience self. In the film "Bad Boy's Sky", the narratives are placed in a specific spatial place, and different occasions symbolize different emotions and memories, which become the site of Kitano Takeshi's personal experience of youth life. The film opens with a cross-talk backstage, and as Takeshi Kitano, who has experienced cross-talk performances, the cross-talk stage has also become one of his important dream venues.
Through the development of the film, it can be known that the opening is actually a flashback perspective, and this has become a way for him to enter the memory or "recall youth". The story that follows begins with the school, where the playground where the two men ride their bikes in circles becomes a place to show the most natural and confused memories of the two facing time. During the school uniform, the playground is a playground for two people to escape the pressure of learning and fight against the social and educational order with a stubborn attitude, where they can be forgotten by teachers and classmates and watched at the same time, and this rebellious factor in the heart of the "bad boy" has become one of the reasons for their later frustration in life.
After all the failures of the subsequent life, the two returned to the playground again, at this time they have worn away the unbridled sharp edge of youth, this playground is pinned on the freedom, comfort, and the beauty that belongs to them, riding a bicycle in the playground, this circle is also like they try to start but return to the original point of life, and the dialogue between the two also reflects the director's thinking on youth and life from the side, when Nobuhashi asked the pony whether the youth has ended, the pony replied that it has just begun, which also means" A kind of restart of the circle, and from the opening flashback, it can be found that this "circle" inevitably leads to the end of frustration, and from this point of view, Kitano Takeshi is pessimistic and cruel to the youth writing of "bad boys".
The boxing ring represents the two people's pursuit of "life goals", this physical game is the way to swing the violence of their inner curls as much as possible, and boxing is also in line with the youthful characteristics of the "bad boys" who are competitive in status. Therefore, there is an attitude of devotion to the two people in boxing. However, the victory or defeat between the two people also causes a process of alienation from each other, which is the embodiment of the young boy's protection of his "dignity". Takeshi Kitano truly dissects the psychological characteristics of the "bad boys", in the case of "rebellion", the "bad boys" rebel against the oppressive existence of all the rules, and those who seem to accept them become traps that induce them to fall into frustration. As a result, Nobuharu, who could have won boxing honors, is taken step by step into the hotbed of depravity by Kobayashi, and the place representing "desire" in the film is the orange and yellow crowded tavern, where Pony walks into the black road where he thinks he can gain "respect", and Nobuji loses himself here and becomes one of the diners who enjoy wine and meat.
In fact, the film also writes the love story of youth with a low tone. This emotion is placed in a quiet café, "crush", "lovesickness", "passing by", "explicit rejection" These gray labels in the youth emotion are actually the main colors of most people's youth emotions. Those teenagers who sit in the center of the café with their arms but dare not open their mouths, or children who pluck up the courage but are rejected by girls who have already loved others in their hearts, constitute the most authentic portrayal of the youth experience of ordinary people.
In the film, Kitano Takesshi presents the audience with a rather "fatalistic" real world, these "bad boys" do not escape the trials of life, they are also trying to get close to and gain the dignity they want to win, but always under this "rebellious" gene, derailed from the mainstream order of life.
The two children in the film who were bullied and insisted on performing in the face of the empty theater finally succeeded, but the director did not spend more ink and emotion to render, more just to make a life trajectory presentation, and this contrast does not give people a sense of "teaching" of high judgment, it is more like presenting a cold truth of life, on the other hand, let us see the strength and maturity of this kind of inner personality in life. Or perhaps, starting from the author's life experience, several of the main characters in the film are the embodiment of Kitano Takeshi's own youth, and those emotional memories built in various spaces can become important annotations for his youth writing so appropriately.