I looked at her snow-white body,
It stretches its legs like a small paulownia tree,
I felt a clear spring wash my body and mind, sighed deeply, and laughed out loud.
She's still a child.
It's such a childish child, when she finds us,
With a burst of happiness, he ran naked to the daylight,
Tiptoeing up, he stretched out. I couldn't stop laughing with a lot of relief.
The mind is as clear as if it had been brushed.
A smile hangs on your lips for a long time.
- Yasunari Kawabata, "The Dancing Girl of Izu"
—Stills of Yukazu Miura and Momoe Yamaguchi
Yasunari Kawabata is one of the best Japanese writers I've ever met to describe love, and the first time I came into contact with his work was about the translated film "The Dancing Girl of Izu" that I saw on CCTV's six movie channels that year. This is a film that has been released in Japan since 1974, even if it has been introduced to China for more than a decade, no matter from the picture quality to the technology may not be advanced, it is still a generation or even a generation of inner classics with its moving and delicate emotions.
I have to say that this film is the work of Yukazu Miura and Momoe Yamaguchi in my mind. It depicts the light and shadow of the southern country written by Yasunari Kawabata, japan's first Nobel Laureate in Literature, and absorbs the slightest affection of Shusheng Maihime into the painting, which throws away the gorgeous and beautiful simplicity, but makes people move, and remembers it to this day.
I read some Chinese and foreign literature, about the study of Yasunari Kawabata's early short film work, and the analysis of the prototype of the "Dancing Girl of Izu" article. It seems that this article was written about after a lost love affair of the master, and the prototype of the article was his unpublished long story "Memories of Yushima".
—Yasunari Kawabata
This memory occurred around 1918, and the adult Kang Cheng recalled a hazy joy of his youth in the pain of lost love. It can't be called love like "Snow Country", and it may also be the master's state of mind at that time, not involved in desire, nor can it be called love, but it is a beautiful and sad heart.
— Yasunari Kawabata as a teenager
The distant mountains are quiet, and wildflowers grow unscrupulously on the side of the road. A shower in the mountains transports Kawashima (Yukazu Miura) to a thatched pavilion to shelter from the rain.
Kawashima, a highly qualified student at a high school in Tokyo, lost both of his parents and traveled to Izu alone for the first time. Tomokazu Miura's immortal appearance has been online since the beginning. That refreshing and clean sense of youth and manly temperament, in his unsulterated face, is so appropriate, it is still irresistible today.
He glanced at a group of touring entertainers sheltering from the rain under the eaves, and she smiled back, a smile as clear as water, an innocent face, like an unrestrained flower, and the real beauty was Gu Pansheng without knowing it. With a bun and a big drum on her back, her name is Ah Fu (Yamaguchi Momoe), and she is a little dancer among the wandering artists.
Speaking of small, it is about the posture of a girl, and the weight is not enough. When a young girl is officially greedy, she is often no different from an adult, but her body shape is thin and thin, and Kaoru is such a figure.
The girl's smile immediately made the young man's soul unstoppable, and he had long forgotten the class gap that society had imposed on the two people. Even if the old tea lady is not inferior to the artists, she also understands the essence of the dancer, but it still can't stop Kawashima's heart from being fascinated.
The weather in the mountains was sunny and rainy, and the rain stopped, and the artists picked up their luggage and got up to hurry. Kawashima put down the tea money and pursued it all the way, and finally talked to the leader of the small group, Rongji, and walked with them despite etiquette. Originally a long and lonely trip, because of the beautiful girl's companions, everything is vivid and interesting.
Wandering entertainers are not allowed to live in the village, and they camp in the Goulan Houses around the village. And the reader Kawashima was unable to break through the class ideas and live with the team of young girls. In the face of everyone's confusion and disdain, he chose to appear at the girl's side again and again, even if there was an insurmountable gap between the two.
The drums of the girls at night, the laughter of the geisha, the wandering skeletons of the drunken men, made his heart feel like rubbed waste paper. He liked the girl who could sing and dance, but he was always worried about the virginity of this beautiful little flower.
There is nothing more important to men than this in ancient and modern China and abroad. This is not a male power, in my opinion, it is just some primitive desire and male hormones, do not need to be investigated.
Probably only the age of "The Dancing Girl of Izu" has such an exclusive love and stubbornness, and the works after the master obviously regard the affairs of men and women as ordinary, either thick or loose, and they are no longer as light as they were then, and they came and went freely. Such lightness, on the contrary, makes people free of those senseless shackles, more pure, and more inclined to the original mind and the original power.
Therefore, even if the film depicts some of the dark side of society, it cannot erase the strong vitality of the young girl. The sad atmosphere of the film stems from the indispensable "mourning" culture in Japanese culture. Whether it is "human mourning", such as Kaoru's friend, the little geisha who has been poisoned, who died tragically under the cannibalistic system and the greed of human nature, and of course, finally Kawashima's prediction of the tragic fate of the young girl. Or "material mourning", such as the "imperial guard" (amulet) that fell in the mud and did not guard anyone, symbolizing the shaking hairpin of the girl's fluttering heart.
All the "mourning" is in the smile of the girl, drifting away with the wind. Her shyness, her boldness, her flattery, her tears, his seemingly innocent love with her, was destined to be a spring dream of a young boy. Many people feel that the relationship between the two people has no disease, which is the obstruction of the girl's family. But I think that it is just the ignorance of the teenagers, the ignorance of mutual affection, by this world, this world, this life pushing forward, that young and ignorant love, is not precious in fearlessness, but also powerless.
Kawashima's final departure, the tears of the girl shedding to the sea, the loss of love at that moment, may be the most beautiful "mourning".
The lights in the cabin went out.
The smell of raw fish and tides carried on board is getting stronger.
In the darkness, the body of the teenager warmed me,
I let the tears flow down.
My mind became a flood of clear water,
Ticking out,
Nothing was left after that,
Just feel sweet pleasure.
Every inch feels life, and all the anger is beautiful
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