The Postman Blues of the Stolen Faith (1997)
In the face of Japanese director Sabu SABU's "Thief Of Love", a feeling of déjà vu and complete freshness pervades the viewing process. Romance films, police films, gangster films three different genres blend in "Letter Thieves", while attaching this modern urban legend interpreted with images.
Director Sabu's film "Letter Thieves" may have been inspired by a seemingly bizarre newspaper news, an accidental death, an accidental hunt.
Yingkage, The Postman Blues of TheFt,"1997)剧, Shinichi Tsutsumi
In addition to being killed on the spot, the accident of life is still too insignificant, not all unintentional willow branches can be lucky to win the lottery in the next year, more likely, after waiting for nothing, only to find that the probability of even surviving is minimal.
Like his movie, lured into a spooky cavern, clap your hands and leave. He flaunts his films as illogical entertainment films, chaos and accidents are not inferred by common sense, and if everything is evidenced by solid evidence, then most of life is negligible, and the ending is already predicted at the beginning, and the 90-minute-long movie does not need to be watched.
The Postman Blues of Theft,(1997)剧teru, Osugi Tei
Born in November 1964 in Wakayama Prefecture, Japan, Sabu is a film actor and has won the Newcomer Award at the Yokohama Film Festival, so it is not a big surprise that he became a director.
In the film industry, the position of director seems to be a piece of sweet and fragrant fat that everyone covets, the photographer has become a director, the artist has become a director, the screenwriter has become a director, and the actors who are manipulated every day are secretly regarded as the behind-the-scenes imagination of revenge. Director Sabu has starred in notable works such as Killer Aichi/Kill House 1 (2001) and Kakuei さくらん (2006).
Directed by Sabu SABU
The same movie about the postman will certainly be made in South Korea as a slightly sour love like "The Man Who Went to Mars 화성으로 간 사나이" (2003), and the lost love has become a gentle killer of self-destruction, and in the fictional Mars, at the bottom of a river, drenched in the intimate love of a love letter.
The Italian "Postman Il Postino" (1994) was a special letter for the poet Neruda, because of poetry, completed the happiness of a young lover.
The British film The Go-Between (1971), based on the novel leslie Poles Hartley, is so bitter and desperate that young Leo acts as a messenger for his beloved girl, half joy and half pain. One day, Leo finally couldn't help but open a letter, and tragedy happened, and the girl's lover was forced to commit suicide.
Stills from the film The Go-Between (1971).
There is no doubt that "Letter Thief" belongs to the work that seeks to integrate the trends of the time across genres. Since the 1990s, the practice of recasting genres as a widely significant and existing resource has gradually become the strategic orientation of films in the face of market factors, artistic creation and personality.
Unlike the general cross-genre fusion of paragraphs with different types of attributes, "Letter Thief" retains the complete clues of four different types of attributes. Director Sabu uses the method of genre mixing to surround the storylines of romance films, police films, and gangster films around 33-year-old postman Ryuichi Sawaki (played by Shinichi Tsui), forming three sides of their own complete and cross-glued.
The Postman Blues of Theft, 1997, Shinichi Tsutsumi, Chukkei
Among them, the love between Ryuichi Sawaki and Konoko (played by Noriko Enoyama) is directly facing the audience. And with the police investigation and tracking to form a non-intersecting parallel.
The plot threads of Shuji Noguchi (played by Keiryo Horibe) and his underworld gang and killer Zu (played by Ryo Ohsugi) are linked to Ryuichi Sawaki (broken fingers and certificates), forming a story mix that belongs to three types and is independent.
The main means used in mixing is the parallel montage commonly used in commercial films, but director Sabu deliberately blocks the intrinsic connection of the text of the four threads, so that the four threads of the story are completely open to the audience, and the characters in the story are always in a situation of ignorance and limitation.
Yingkage, Postman Blues of TheFt, 1997, Nakakkei, Tsutsumi Shinichi (right)
Sabu's disposal method effectively ensures the integrity of the type clues and the abundant amount of information in the main line of the text, but also forms a structural tension between the clues that directly acts on the audience's psychology.
The contrast between the suspense and the atmosphere and tone of the tragic and pure love story and the parallel intersection of the police tracking brings the audience direct tension. The killer Zu's certificate of conformity and Shuji Noguchi's successor, as well as the fate of the police to arrest Ryuichi Nakazawa, have contributed to a further decline in tension.
Ying-kage, Postman Blues of TheFt, 1997(1997) Nakakei, Hijiko Hiyama
Obviously, director Sabu's mixing is not to choose the deep intersection of clues of different types of attributes to form a complex and changeable plot of the text, but to obtain a compound fall of viewing emotions with a concise parallel that is open to the audience in all directions. As far as the viewing effect of "Letter Thief" is concerned, Sabu's cross-genre disposal in the overall structure is obviously simple and effective.
As far as "The Love affair of the Thief of Letters" is concerned, the theme of love and righteousness itself does not bring people much novelty and profound understanding. Director Sabu is nothing more than pinching together the consistent themes of romance films and gangster films and reinterpreting them, but the way of interpretation makes this theme performance become "Sabu's" performance, with different new meanings.
The Postman Blues of TheFt, 1997
Among the new generation of directors in Japan, Sabus is a prominent representative of the pursuit of narrative dynamics and the formation of personal style. From his debut novels Projectile Flyer/弾丸ランナー (1996) to Unlucky Monkey アンラッキー・モンキー (1998) and Crazy Monday/MONDAY/マンデイ (2000), chases and runs have always been the main events that make up the film's plot.
These characters are always in the midst of fast-paced change without a sense of stability. The love and righteousness themes of "The Love affair of the Thief" gradually appear in the pursuit of multiple clues intertwined and twisted.
The Postman Blues of TheFt, 1997, The Dhagoku DVD Version Of The Seal
The largest use of black humor is concentrated between two parallel threads: "Ryuichi Sawaki's love" and "the police's pursuit". Contrast is the main means of producing the absurd effect of black.
The policemen's inferences are full of inference, searching; carefully stalking; and carefully portraying the innocent Sawaki Ryuichi as a drug offender and a psychopathic demon, which is absurd in contrast to saw saw the simple and pure death love of Sawaki Ryuichi and Xiao Yuezi.
Specifically, the incompetence of the police is refuted one by one between the parallel alternation of the two threads in the text and in the eyes of the audience. Subjective assumptions, despicable and trivial, out of nothing, rigid and narcissistic, futile.
The Postman Blues of Theft, Ying-chen (1997)
The actions and results of the police become more and more absurd as the plot progresses, and the contrast becomes greater and greater. From subjective inference to involve criminal psychology expert Dr. Hara, the world's transport bicycle player Shindai; from police car encirclement on all sides to helicopter, vehicle radar.
The powerful functions of the state apparatus were ridiculed, teased and ridiculed, and eventually evolved into impatience and viciousness outside the hospital. The use of black humor in contrast provides a meaningful extension of the reverse tension of the positive love and righteousness theme of "Thief's Letter", giving the text irony and black comedy viewing effect, while strengthening the transcendent purity of "Sawaki Ryuichi Love".
In addition to the sarcastic function, the use of black humor in "Letter Thief" is more of a witty and ingenious "caulking" in the narrative process. Borrowing collages, caricaturing and harmonious gimmicks are its main ways and functions.
Shuji Noguchi and his gang boss, the Horse Boys. The killer Zu and the female killer who is inseparable from him both have the appearance of an easy-to-recognize underworld and professional killer. The characteristics of these appearances are directly related to the genre of films they parasitize. It is in this connection that the classic type of borrowing, copying and collage can be unfolded.
In "The Love of Thieves", the typical loans and collages appear in a scene where Zu participates in the professional killer association selection examination.
The male player Lyon (played by Ryoko Takizawa) who holds a pot of plants is directly borrowed from Luc Besson's Luc Besson's "This Killer Is Not Too Cold Léon" (1994), while the female player named Qingxia is obviously from wong Kar-wai's "Chongqing Forest" (1994) played by Lin Qingxia.
As for the dialogue such as "The most important thing to be a killer is the sense of rhythm", it is also an imitation of wong kar-wai's film dialogue style.
Yingkage, Postman Blues (1997) Terwa Zhongyi, Heavy Forest (1994) and "Tadate-Inta-Cold Léon" (1994) Medium-shaped elephant ratio
Of all the narrative passages in The Letter Thief, the most special passages are the beginning and end of the film. At the beginning of the film, Sawaki Ryu, who sorts letters in the post office, is between reality and imagination. The deep and hollow corridors of the post office and the loud sound of the rolling trolleys combined with the rustling of moving photography and sorting letters both show Ryuichi Sawaki at work and hint at the existence of imagination and fabrication.
In the subjective shot of Sawaki Ryu's heart beating faster and the scolding of the post office administrator on the side, the film cuts to a specific story narrative.
The ending of "Letter Thief" very clearly echoes the ambiguous treatment at the beginning of the film. The surreal "Out of The Soul" continues after being killed by the police, and Ryuichi Sawaki's love affair with Konoko is strengthened.
The ambiguity of the beginning and end of "Letter Thief" directly brings about the gameplay of the text as a whole. In the trade-off between the real and the imaginary, which is difficult to determine; in the speculation and conjecture that is willing to make, the audience will undoubtedly experience the interaction provided to them by director Sabus, which is also strategically consistent with the "parallel to the audience".
Of course, from the perspective of creation, the fuzzy disposal of the first and last echoes is also the prescriptive formulation implemented by Sabu to achieve multi-type mixing, and the blurring is conducive to crossing the boundaries of types and easily achieving the autonomous interpretation of different types of mixed packaging in the same text.
Every willfulness has to pay a price, and what is stolen always has to be returned. Sawaki Ryuichi stole other people's money to go to the convenience store to buy wine, peeked at Xiao Yuezi's letter, but had to die to repay, the punishment is too extreme, it is obvious that the director Sabu is not Kitano Takeshi, Sabu's warmth is only to reflect the cruelty in reality.
Yingkage, Postman Blues of TheFt Belief (1997) Medium-sized Scenery, Shinichi Tsutsumi Keiko
The so-called "poisonous" ending usually refers to the choreographer boldly challenging the audience's tolerance limit at the end of the film, only doing his own thing, letting what should not happen and the person who should not die die die.
Just like in "Letter Thief", the male and female protagonists all end up dead, and they die on a game-like occasion.
A man running for love was killed by a Japanese policeman! Why? Too many people want to ask this question, but the choreographer does not care about this, because they love to play fierce games, and with such a cruel ending, they have won the hearts of the audience.
"Letter Thief" is one of the few classic japanese films of the late 1990s, the storyline is very simple, there is no lack of black humor scenes, but director Sabu uses extremely cold shots to tell us a tragic story of a small urban person looking for a little sunshine in life.
Especially at the end of the film, seeing that the little happiness that poor Sawaki Ryuichi is pursuing has been cruelly deprived, I believe that no one will feel that this is a relaxed comedy again.
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