The japanese DVD version of the movie "Moon" (1999).
Moon (1999) is a gangster-like love story and road movie filled with weird but fascinating characters.
Sometimes it is excessive, and allows the viewer to experience the tenacity of various human natures indulging in their respective "sexual orientations", but with the blessing of humanitarianism, it seems to offset the extreme sexuality and violent erosion that appears on the screen!
"All Moons" written by Wanyue Hanamura, written by Haruhiko Arai, and directed by Rokuro Mochizuki is a rare masterpiece, and the plot in the film is worth analyzing and interpreting one by one.
Directed by Rokuro Mochizuki
Rokuro Mochizuki, who started with erotic films and videotape films, has mostly directed films such as eroticism, violence, youth, and mature years, as well as many AV and OV works, and has tried some stage drama creations in recent years.
If you just want to see an outline like a fast food, or don't want the details mentioned in the text before you have seen the movie, which affects the novelty of watching the movie in the future and the fun of your own exploration, then this can only be a long story short, this is a film in which explicit feminism and implicit gay men are integrated into each other beautifully.
Cover of the novel "All Moons"
If you don't want to look down at the following text, you can just cross it out, or wait until you find the resources, after watching the movie, and then read the following text.
The male protagonist, Suwa (Eiji Okuda), is a middle-aged man who, when he returns home tired one night, he finds his wife Sayukiko (Played by Keiko Ogano) running away with all the valuable things in the house, leaving "all the moon, can't stand it anymore, goodbye." " note.
His wife is clearly gone, but the middle-aged man Suwa sees his naked wife at home taking a bath, and even hugs him in the bathtub. Is this a memory or an illusion? It is both past and futuristic, free and experimental.
Stills from the movie "All Moons" (1999), Eiji Okuda (right) and Kazuki Kitamura
The handsome brother-in-law (his wife's younger brother) Akira Hanada (Kazuki Kitamura) accompanies his brother-in-law Suwa to find his missing sister.
Hanada's affectionate attempt to help her abandoned brother-in-law Suwa get out of depression instead plunges her brother-in-law into many dangerous, suspicious, and often violent situations.
At the bar, someone said that the waiter was kneeling so disgusting, and the waitress was busy explaining that this was the rule of the store. This is also a foreshadowing of the "abnormality" of this film (compared with ordinary movies), and it is also a glimmer of feminism in this film. Make you and I vigilant, but also force you and me to reflect on the female waiter in front of the male guests kneeling to greet each other and you and I actually see strange sexism!
Stills from the movie "All Moons" (1999), left is Eiji Okuda
This "abnormality" of this film also echoes the male protagonist Suwa urinating in the park men's toilet, being mistaken by the male comrades as a good friend and the other party treating each other rudely, directly on the mouth to make the male protagonist Suwa frightened.
Subtlely hints at the weak situation of heterosexuals on gay territory, and the extended meaning is that homosexuality and heterosexuality do not matter whether they are right/wrong, normal/abnormal, and whoever is more powerful is recognized!
Later, Akira Hanada helped his brother-in-law Suwa to avenge and beat up the gay man, if you think this is the gay phobia in "All Moon", then it is inevitable to see this film too shallow and too simple.
Stills from the movie "All Moons" (1999).
From a sociological point of view, there is institutional homophobia and intrinsic self-homophobia.
Inner self-homophobia refers to the fact that comrades cannot truly accept themselves because of social prejudices, and measure themselves by the standards of the so-called "mainstream society", which leads to different degrees of inferiority and leads to serious psychological problems.
Think about it later (especially at the end of this film), you will find that the people who beat up comrades are more problematic and more "abnormal"; on the other hand, Hanada Akira is ostensibly anti-comrade, and in his bones he loves and pities his brother-in-law Suwa but is more comradely than comrades!
Stills from the movie "All Moons" (1999), Kazuki Kitamura
"Homophobia" is actually because of the fear of not knowing comrades, and people who lack basic understanding of comrades will also think that comrades have irrepressible admiration and aggression for all the same sex, so they will isolate comrades from behavior.
If a society is deeply uneasy about its own political, social, economic, and cultural identity, people will mask this uneasiness by reinforcing gender attributes.
Feminist introspection is also projected on the interaction between the male protagonist Suwa and the woman. In the absence of her sister, Akira Hanada takes off her glasses and underwear for the male protagonist Suwa, Reiko Mitsuru / Yumi (played by Kaomi Yoshimoto), who is introduced by her brother-in-law Suwa.
Stills from the movie "All Moons" (1999), with Kami Yoshimoto (left) and Eiji Okuda
After that, the woman took the initiative to invite in her behavior, but the male protagonist Suwa's statement of "I have an erection but I did not ejaculate" is the embodiment of his deep love for his wife and the weakness and emptiness and powerlessness of men.
The male protagonist Suwa never resents his wife, but introspects himself on his wife only with salary and "muddy JY" when making love; the male protagonist Suwa realizes that the old ugly does not want to possess Yumi, but asks for a sum of money for the other party, which is the man's self-confession to feminism.
Akira Hanada's youthful beauty and Ichigo's red dress are passionate, fanatical, and carnal, comparing the appearance of the male protagonist Suwa and the simple and pure appearance of the white trench coat (Yumi's orange dress is just between the two!). )
Hanada Akira rapes Yumi in front of her brother-in-law Suwa, and the woman is not excited but resentful.
The figure of the brother-in-law Suwa in the background just follows the shallow composition of the man and woman in the foreground, and Akira Hanada expresses his willingness to let the brother-in-law Suwa who takes the knife to stop him kill, but the short scene has infinite meaning: the brother-in-law and the brother-in-law's love/desire to fight, yumi's feminist practice, and Akira Hanada's gay plot is also a dark tide!
The male protagonist Suwa later tells Yumi that everyone is the moon, only Yumi is the sun, Yumi can't understand but is very happy, this is the moment of the film's intellectual thoughts and sensibility. The film also takes advantage of nature (mountains and seas) to reflect the smallness of people.
At the end of the film, Hanada Akira's nude tattoo (note that the tattoo is a gay metaphor for needle painting "entering the male star's body") and her obsession and pursuit of her sister.
The pursuit of the runaway wife by the male protagonist Suwa of "All Moons" and the pursuit of another group of the close affection of Hanada Akira's brothers and sisters are a kind of respect and tolerance for "abnormalities" in the incomparably unusual "needs"!
May you and I also accept everyone as the dark side of the moon that is not seen by humans except for the reflection of the sun's rays!
Cover of the Japanese video version of the film "Moon moon" (1999).
Despite all the weirdness and violence in Moon, there's something very flattering about this movie and all its characters. Movies have styles, and at least you could say that movies are unpredictable, which is certainly a good thing for the audience.
Koji Endo's soundtrack sets off this somewhat absurd story quite brilliantly. Kazuki Kitamura's acting skills in the movie "All Moons" should be particularly praised!
When Kitamura Kazuki was a teenager, he entered the Merchant Marine College because he wanted to become a pirate, but found that he could not become a pirate at school, so he suspended his school.
Kazuki Kitamura's promotional photo for the film "Moon" (1999).
Later, when Kitamura Kazuki performed in "Tetsuko の部屋", he thought that since he could not become a pirate, he could at least perform a pirate, so he aspired to become an actor.
The reason for the dream of pirates was due to watching the movie "Abandoned Ship Seven Waves Away" (1957) starring Tyrone Power (1914-1958) as a young child. He then watched Kamata's Kamata March (1982) directed by Shinji Fukasaku and strongly wanted to become a film actor.
When I arrived in Tokyo at the age of 19, even though I tried hard to find an agency and participate in the selection meeting, I could only find a job as an extra on my own.
In order to sell themselves, there was even a period when one person worked as an agent. However, his path as an actor was still very unsatisfactory, so he had to temporarily give up his work as an actor and spend nearly 4 years overseas from Australia, South America, Southeast Asia and other places.
In 1999, Kazuki Kitamura won the Film Shunbun Newcomer Male Excellence Award and the Nifty Film Award for Best Supporting Actor for his films "Minzuki" and "Japan's Underworld". "Moon" also won the Best Supporting Actor Award at the Yokohama Film Festival.
Eiji Okuda, who worked with him in the film at the time, gave him the nickname "Floating Reptiles".
Poster for the Japanese version of the movie "Moon" (1999).
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