Director: Kiyoshi Kurosawa
Writers: Ryusuke Hamaguchi / Nohara / Kiyoshi Kurosawa
Starring: Yu Aoi / Issei Takahashi / Ryuji Sakato / Yuri Tsunematsu / Minosuke
Popcorn index: 4 barrels
One-sentence evaluation: As an audience, we have seen the growth of the character of Satoko Fukuhara, seen her precious character, and thus seen a new path for the creation of works of art with female themes.
The woman who is "not independent"
- Comment on "The Spy's Wife"
Movie sieves
At present, there are more and more films in which women play the main role, but it is inevitable to fall into the trap, some are bluntly making up a story to show that women can do what men have done, and some directly change the previous male protagonist films to women for remake. So when I saw the film "The Spy's Wife", I couldn't help but feel a burst of joy in my heart, which not only reflected the growth of women, but also paid attention to the social prejudices and shackles that were difficult to get rid of in this process of growth. Although the story of the film is set in a bygone era, the discussion of women's cognitive issues is equally applicable to today's women, and even with this sense of distance, it is possible to see the problem more clearly.
The film tells the story of Yusaku Fukuhara, a trade worker in the early 1940s, who traveled to puppet Manchukuo on a business trip, bringing back evidence of major crimes committed by the Japanese army there. However, her wife, Satoko Fukuhara, was unaware of this until the military investigation touched herself. After learning of her husband's intention to make the evidence public, Satoko decides to act with her husband, not wanting her husband to have other plans...
The "spy wife" Satoko Fukuhara in the film is played by the famous actor Yu Aoi, who is innocent and kind, beautiful and warm, representing the imagination of the ideal wife in the minds of many people. She was completely dependent on her husband psychologically and financially, and even being able to help him keep his huge secrets made her happy. But unlike many female characters in similar situations in previous works, Satoko Fukuhara's soul is not detracted from not having much contact with society and not being able to be independent financially, and she has her own way of behaving and the standard of love and hate, which can even be untethered by social pressures and past emotions. In order to insist that she thinks it is right, she even goes to the expense of separating herself from her most dependent husband.
As an audience, we see the growth of the character of Satoko Fukuhara, see her precious character, and thus see a new path for the creation of works of art with female themes - she is not perfect and is subject to a lot of constraints, but she is alive and pursued, which is also a powerful reason to break those shackles.
What is even more admirable is that the film not only succeeds in creating a female figure, but also impresses the couple and their friends for their insistence on justice. Giving each character enough respect is the basis of the creation of works of art, even if these individuals have not left their mark in the torrent of history in which they live, and the telling of their stories will make us, the viewers, feel that they are no longer alone, but also experience their own dignity - for works of art, is there anything better than this?