Good music knows no borders or ethnicities, and Hisaishi Jean is the best proof.
Since his debut, he has not only scored works for Hayao Miyazaki and Takeshi Kitano, but also cooperated with many Chinese directors, such as Jiang Wen, Chen Kaige, Xu Anhua, etc., conquering countless fans and music fans.
Miyazaki said that meeting Hisaishi was a lucky thing, and there was no luckier thing than that.
Jiang Wen even praised his soundtrack for "The Sun Also Rises", "It's really a little better than Mozart." ”
Summer is the best season to listen to Hisaishi Jean.
Before the end of summer, let's listen to him again, go back to childhood, and enter the dreamland.
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Highway Cracker
Childhood education affects a person's entire life.
Born in 1950, Hisaishi Washi was introduced to the piano at the age of 2 under the guidance of his father and began learning violin at the age of 4. Between the ages of 4 and 7, he was often taken to the cinema and watched an average of about 300 movies a year.
Music and film planted the seeds of a future career in his young mind.
His experience studying at the Tokyo National Conservatory of Music in college taught him how to compose music.
At the beginning of his debut, Hisaishi tried a lot of electronic music and experimental music, and the album "Information" released in 1982 was a product of the time.
Listening to his early albums, you will be amazed, how come there are so many leg-shaking divine songs?! If the uncle participates in Le Xia, he will definitely lead the trend.
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Valley of the Winds
Some people are destined to meet, destined to achieve each other.
In 1983, Hisaishi met his Nagano compatriot Hayao Miyazaki, and since then, the two have gradually embarked on the peak of their respective careers.
The first animated film they collaborated on was Nausicaä, the theme of environmental protection.
The soundtrack that Kuishi gave to this film has a beginning of battle, danger and tension, and a warm and expansive ending, and the most classic is the children's version of Nausicaa's theme song.
Nausicaa is innocent and kind, and she guards the king worms, nature, and villagers with her life.
The innocent child's voice in the music, transparent and clear, unpolished, not so accurate, but it achieves perfection, which is just commensurate with Nausicaa.
The song was sung by Hisaishi's daughter Fujisawa Mai, who was only 4 years old at the time.
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City in the Sky
Love is a kind of faith.
No matter how great the suffering, as long as there is love in the heart and accompanied by each other, there is nothing to fear.
When we think of Castle in the Sky, we think of the flying island of Laputa, of the girl Hilda who can fly with stones, of the brave boy Baru, of the obstacles they have experienced...
The music conveys the theme of the story and the fate of the characters: sadness cannot erase warmth, evil cannot destroy innocence, and after defeat, it will still move forward.
"Jun をのせて" (with you) is both a sonata of Hilda and Baru flying together to find the light, and a projection of the common mission of Hisaishi Anderson and Miyazaki:
With fantastic works, we sprinkle an innocent and warm sunshine on the bad real world, lift the dark clouds for us, and see the "city in the sky" in our hearts, the purest self.
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Totoro
Everyone who has seen Totoro wants to have a Totoro.
Totoro is a spiritual haven for many people.
No matter how bad the state is, no matter how bad the mood is, just settle down, let the whole person immerse yourself, follow the pair of little sisters, totoro cats, little boys in the field, under the tree, the old house, catch tadpoles, drill tree holes, pick oak nuts, lie on the totoro ... You can find the carefree, innocent feeling of childhood.
Hisaishi's soundtrack is full of spirit, transparent as the country air, soft as totoro hair, full of dreams and poetry.
Jay Chou once said, "I like Mr. Hisaishi's "Totoro" the most, the soundtrack is very good, the great thing is that listening to this music, the picture of the story can be imagined in my mind." ”
When the dust elves in the room disperse, the music of "こわくない" (not terrible at all) begins in a hurry and tension, and the child's cry sounds in line with the theme melody of the film, like the shouts of the dust elves.
And we, it seems, have become brave along with Xiaomei.
Totoro symbolizes the gods of nature, and the whole album is like a fairy tale version of the sacrificial music, mysterious, holy, clean, melodious and full of childlike fun.
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Kiki's Delivery Service
One day, we will leave our parents and grow up alone.
Just like kiki, a 13-year-old magical girl, she came to a new city alone, living, making friends, and working to support herself.
We'll lose a lot of things along the way, and similarly to Kiki, she lost her magic.
"Growing up is a trade, and we all exchange the courage of our innocence with the innocence of untouched whiteness."
Hisaishi made the witch's theme song "Season of めぐる Season" sound like a ballerina's toes touching the floor, careful and cheerful.
Music reminds us to carry a heavy burden and not to neglect, but also encourages us to be optimistic, to be confident, and to go strong.
Kiki finally did it, and she regained the ability to fly.
We can too.
We will continue to grow and discover more wonderful selves.
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Princess Mononoke
The dramatic conflict in Princess Mononoke is stronger than Miyazaki's previous works, and the style is more "dark".
Hisaishi makes extensive use of strings in his soundtrack, changing the freshness and agility of the past.
The music takes us to a distant era, where the landscape is vast, the wilderness is vast, and the tone is desolate, with a strong sense of fatalism.
When the story's male and female protagonist Asan and Asidaka first met, the theme song of desolation was transformed into a beautiful love story.
Past lives and this life, fate is destined.
The lyric version was completed by the famous Japanese falsetto tenor Miriamichi Miriam. His voice was clean and thick, like a wolf, mourning for the forest, and like an old woman by a campfire, telling an ancient legend.
"The places I can't go to are called far away, and the worlds that can't go back are called hometowns, but what I've always longed for is a place farther away than far away."
In the soundtrack, the song "Teenager from the East" is also quoted by Chinese martial arts film and television dramas such as "Tianlong Babu", and the fates of oriental heroes are always the same.
The same grandeur, the same swinging intestines.
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Spirited Away
Growing up is always a challenge.
If the magical girl Kiki's difficulties come from the outside, then Chihiro comes more from the heart, deeper evil.
The oil house (hot spring bathing center) in the story is a projection of human greed, sleekness, and numbness, as an interloper, how will Chihiro face it? Get greasy together? Or keep yourself?
Chihiro chose kindness.
She was the weakest of all, unworldly, clumsy, often making mistakes, and timid.
But she is the strongest, with her own belief in wanting to live, wanting to save her parents and friends, she overcame all difficulties, saved the white dragon, saved the faceless man...
The theme melody of Hisaishi's soundtrack has three sections:
"A Summer Day" is weak and quiet, Chihiro has just appeared, and she needs the protection of others;
When "The River of That Day" sounds, Chihiro sees her parents turned into pigs, lonely;
The last song, "Return to the Sun", returns from joy to calm and melodious, Chihiro rescues her parents, and also completes her personal growth.
The more this classic melody goes back, the more people feel lonely, sad, and regretful, probably like everyone's suffering, all personnel, changes, and in the end we can only face life alone.
However, the aftertaste is warm again.
The intertwining of true feelings on the road of adventure gives us the motivation to continue to move forward. Tiny, pure hearts collide with each other, allowing us to see the truth through the grease.
Don't forget your name, don't forget your authenticity.
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Hal's moving castle
There is always love in Miyazaki's animations, there are always beautiful encounters, and this time is no exception.
The heroine Sophie lives a dusty life, she is very inferior, 18 years old was cast to become 90 years old; under the handsome appearance of the male protagonist Hal, is a weak and lonely heart.
Love, let them have the courage to live themselves, have the courage to change.
Miyazaki's musical requirement for "love" is that only one theme song is used for the whole film, and all other variations are used.
To be happy and sad, but also to be able to echo the change in the age of the characters, Hisaishi makes him feel Alexander. Finally, after constantly overturning and rewriting, he created the classic "Life Carousel".
One of the most popular variations of the audience is "Walking in the Air" when the male and female protagonists meet.
A waltz that plays hal and Sophie's love.
The boy's blonde shawl and earrings are shining; the girl's straw hat is elegant, and the skirt is fluttering.
There are temptations in the music, there is a heartbeat, and finally the doubts are broken.
So, they danced a round dance in the air, hand in hand, flying over the city and flying over the crowds.
Such a romantic encounter, every girl can not resist.
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That summer, the sea of tranquility
The cooperation between Hisaishi and Takeshi Kitano is equally dazzling.
Unlike Hayao Miyazaki, director Takeshi Kitano presents an audiovisual world that is violent, bloody, and dark and humorous.
However, the warmth under the cold appearance of the characters in his film is so moving.
Hisaishi's music is a reminder of information other than the movie's picture.
In 1991, Takeshi Kitano filmed "That Summer, The Sea of Tranquility", which tells the love story of two deaf and mute people.
Small people, unremarkable, silent, and behind the introverted characteristic of orientals, is a fiery spark.
At the end of the film, the light and fluttering new century music is laid layer by layer, ethereal and transparent. The heroine pasted a photo of her and the hero on the surfboard, cut the distant view, and she walked to the depths of the sea, leaving a string of footprints behind her.
The lyrics of "Silent Love" are sung in English and Japanese, Silent Love, Goodbye. The more sad violin played, like a cry.
Surfboards flutter around the sea with their photos.
Their love is deeper than the sea.
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Fireworks
Fireworks means rapid growth and rapid decay, brilliant when glorious, and unable to be retained by you when it is dim. Cruel, beautiful, just like life, short and helpless.
The protagonist police officer Assi's life goes to the bottom step by step, and Hisaishi jean chooses to use the cello voice, calm, somber, with takeshi Kitano's fixed shots, to play a heavy waltz.
At the end of the film, Assi and his wife flee to the beach under the pursuit of the police. The variation of the theme song "Hana-Bi (Reprise)" sounds, poignant and solemn, foreshadowing the end of their lives.
When the kite-flying girl appeared, running on the beach, the music began to jump, and hope seemed to come. However, a kite without wings cannot fly.
The girl's "movement" contrasts with the couple's "stillness", and the breath of death pours out from the notes.
He put his arm around her shoulder, two gunshots rang out, the music stopped abruptly, and everything was quiet.
silence.
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Kikujiro's summer
A gentle film.
Both protagonists in the film lack maternal love and are sad about it.
Luckily, these two little boys and big boys, who are far apart in age, find each other, and they venture together and warm each other.
The melody of "Summer" is the tenderness of their hearts, and Hisaishi once again uses notes to reveal the part that has not been directly expressed by Takeshi Kitano.
The bright, upward, cheerful force in the song not only accompanies Masao and Kikujiro to grow up, but also warms many boys who are either lonely and silent or hanger.
Many people leave messages for this song in music software.
They reminisced about swimming and climbing trees with their friends when they were young, having a crush on little girls, recalling their fathers, imagining what kind of men they would become, and some people lining up to swear to be admitted to a good university...
From a mischievous and active little boy to take on the responsibility of life, and from closed emotions to slowly learn to face, the process is long and arduous.
Lift your head, smile, move forward, don't be afraid, we are not alone, there is always someone watching us, far or near.
We can definitely become a better person.
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The sun also rises as usual
Some people say that Jiang Wen is too good at "saving money" in film scores, and the theme song composed by Hisaishi Jean for "The Sun Also Rises" has been used by him many times in different movies.
In fact, it is better to say that this song is composed too well.
In line with the theme of the movie, it is also like Hisaishi's depiction of Jiang Wenren: romantic, proud, passionate, majestic, gorgeous, masculine and tough temperament hides gentleness and tenderness.
At the end of the movie "The Sun Also Rises", the heroine shouts "Alyosha, don't be afraid", and the music rises with the sun.
"Youth will grow, confusion will dissipate." After the night, the sun rises as usual." Hemingway said.
Hope is the driving force for people to live.
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Mortician
The movie "The Mortician" won the Oscar for Best Foreign Language Film, the male protagonist Kobayashi was originally a cellist, and the job he found again after losing his job was to help the deceased tidy up their appearance and let them leave with dignity.
The theme song "Memory" first appeared after Kobayashi came into contact with the first deceased. Feeling uneasy, he sat in the dark, playing the cello, thinking back to his mother who had passed away and his father, whom he had not seen for many years.
The second time was when Kobayashi played the cello on the mound after his work was getting better, interspersed with pictures of his daily work. Kobayashi seems to understand that the mortician is a job that connects the memories of life, not dirty, and not simple.
The third time he appeared when Kobayashi was buried for his deceased father, he found that before his death, his father was holding a childhood relic in his hand, and thousands of memories came with the music, and Kobayashi burst into tears. Father, it turned out that he did not forget himself, he turned out to love himself.
Affection, the love between father and son, transcends death.
The knots in the heart caused by the original family were melted by this picture and music, and they were reduced to tears.
Here, the theme song "Memory" is an elegy and a hymn. Solemn, poignant, sad, just 4 minutes of melody, condensed a person's life of brilliance.
The four seasons change, all things reincarnate, only wish "born like the splendor of summer flowers, death like the quiet beauty of autumn leaves."
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Postmodern life of my aunt
Director Xu Anhua provides a valuable perspective to let us enter the hearts of middle-aged Chinese women.
The middle-aged intellectual young aunt still has girlish fantasies, and her heart is higher than the sky. You can say it's unrealistic, or you can say it's a love of life.
The instrument that Hisaishi gave to his aunt was the guqin, which had the flavor of China and Shanghai, elegant and chic, graceful and moving, and seemed to be trained in the world, but there was a hint of resentment.
The shrewdness and kindness of the small citizens, the credulity and desire of middle-aged women for love, eventually became a dream.
The aunt had to leave Shanghai, goodbye, viaducts, plane trees, twinkling neon lights; goodbye, London and Shanghainese; goodbye, youth, the best of times.
She returned to the northeastern countryside and sat in the market to nibble on steamed buns, no longer the energetic aunt, no longer feeling anything about the Peking Opera on the radio of the vendors around her.
The aunt accepted fate's cruel arrangement.
At the end of the film, the guqin melody that symbolizes her in the song "Postmodern Life" still rings in her ears, which makes people sigh.
Hisaishi's music is soft, romantic, and passionate.
Often people are touched by his music and cry to hear such a beautiful melody, and Hisaishi feels very honored for this, but he always emphasizes:
"You don't compose to please others."
He has always insisted on his own creation and expression, even if it is a film soundtrack, he did not think of catering to the director, but from the film content, the picture to think about the appropriate music.
In the book "Moved, So Created", he mentions Picasso, hoping that he can be like him, 90 years old still continue to absorb new things, constantly challenging himself.
"Today I want to surpass yesterday's me, tomorrow's I want to be better than today's me, with the goal of creating better music, and constantly surpass myself." 」
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