How can you be warm when you're alone – the third of the old movies
Commentary on The Mortician
In the shot, Daigo Kobayashi sits alone.
When the memories reach the fingertips, the piano sounds.
The melody flows with the glow of the setting sun, not hot, but warm. Between the light and dark of the narrative, the author's thinking is flowing in a long stream. The music presents an indescribable serenity, and the spirit of introspection looms in the lyric.
The author is so serious, so meticulous, that he seems to be blaming himself, that he is leaving the mind alone in lingering sensitivity, in regret, guilt, and sentimentality.
Importantly, whether accusatory or self-deprecating, the author expresses a deep love for himself. This is not a work of self-abandonment, but a sigh expressed by a person who loves himself infinitely and expresses his dissatisfaction and disappointment. Such sighs, which seem to be more full of love than appreciation and praise, are low and powerful, and slowly constitute the most moving qualities in the work.
There's exaggerated sentimentality in the air – something everyone will feel. Inner and stoic emotions overflowed the room, flowed in the air, spread out of the past, from the apartment buildings in Tokyo to the rural wilderness in Yamagataso...
To speak solemnly about the importance of "The Mortician" or similar films to our inner world is difficult and responsible, because the breadth and power of this kind of film that focuses on the heart requires a new standard of interpretation.
Yojiro Takita's 30 years of directing experience can be roughly divided into: The Pink Period [1981-1985] [Entered the "Lion" at the age of 21, officially directed five years later, and more than 20 AV-famous "" series were written here. In fact, Takita began his experiment: it is hard to imagine that pink films are also classified into serious, light comedy, and even suspenseful reasoning styles. "A hospital provided pornography, and a monk rushed to this service to hospitalize the Peach Medical Examination[1985]", reminiscent of Boccaccio's Decameron. He himself said: "They are all part of my work, and they all exude an air of joy]. The comedy period [1986-1992] [stepped into the main drama period, represented by "" [1986], """"1988", "" [1990, 1992]. In 1986, the 30-year-old Takita was recommended by Yuya Uchida, "Don't Be Funny Magazine!" "" not only won the Best Film Award at the Baozhi Film Awards in China, but also won praise at overseas film festivals. Perhaps it was the unexpected reward of fate that allowed Takita to break away from the pink film and step onto the broader stage of the main drama film]. The mixed period of pursuit of breakthroughs and the diversification of themes, which I call the "multilingual period" [1993-1999] [represented by "" [1993] and "1999", the exploration and accumulation of this period are of far-reaching significance, and the cross-sectional analysis of the learning stage can understand the gliding trajectory of the creator's transformation]. The Fantasy Age drama period [2001-2005] [basically based on mature scripts or historical stories with deep roots, Takita was not very confident at this time, and the box office foundation was the primary factor in his consideration, but it did not prevent him from using other people's structures to express himself, and the ideology of many previous themes was mixed with o-time and mystic tendencies, and """ [2003] was no less than Kurosawa's "",[1958] in terms of form and content The inner experience drama period [2007- ] ["" [2008] is not the end, but the beginning. Interpreting it requires references from contemporaneous works, such as Baseball Buddy[2007], Fishing Fan Sanping[2009], or earlier Exam Family.[1999] Takita says that "that's not his representative work," suggesting that he has more ideas yet to be realized].
After entering the main drama period, Takita did not immediately give up directing. The real establishment of the status of the general drama director began from the fantasy era drama period, after which he withdrew from the fantasy era drama, approached and began to pay attention to the heart.
This is not to say that the director can be firmly limited to various periods according to the subject matter. In fact, Takita showed extraordinary potential at the beginning, and we should understand that the fun of the Pink period was consistently and expounded, and the exploration and inner experience drama period in the multilingual period was even more consistent, which basically confirmed his disapproval view of the division of genre films.
It is extremely difficult to trace the life of Yojiro Takita. To date, material on him is sparse and obscure. The bleak times of many years ago have been ignored. Whether it's Google, Yahoo, Reuters or The New York Times, they are like a bunch of inflammatory courtiers who conform to the timely dissemination of journalism views, intertwining and talking with their radiant masters in every golden palace.
Japan is a strange nation, in just 100 years, in literature, music, painting, traditional stage drama, film and television, folk art, commercial design, architecture and other aspects of fine products, after the war depression and the atomic bomb of Hiroshima, japan has become a victim, but also for the film and television humanistic thinking, ultimate care, inspirational spirit to provide universal materials. But opinion leaders who are able to make their voices heard have never had systematic reflection and repentance: they have magnified their suffering to infinity, but they have turned a deaf ear to the worldwide trauma that has just been inflicted, which is unforgivable in any case.
I'm trying to write a review based on limited and unreliable pieces of information, as close as possible to objective facts — the director's inner truth — which seems absurd — and try to find clues from Takita's work over the years, and corroborate or disprove the point of view, I am afraid that this is the only way.
I always had a strange feeling as if I was talking about something fictional, a speculation about his cinematic conception and the ideology of screen-shaping.
Post-war Japan was reborn in the English-speaking world, but the tradition was so stubborn, even if it was a shell that was mothed, the ancient Oriental languages and customs still had an indelible influence, mysticism, the spirit of crossing can be seen everywhere in Takita's works, "Yin and Yang Division" and "Asura Castle Pupil" cloaked in the cloak of period drama, and different from the traditional sense of the blockbuster, once fascinated me - historical background, Kabuki, Noh drama, berserk, koto music, scrolls, beauty, evil spirits, dancing teenagers, revenge, fighting, mysticism, The friendship between life and death, the local gods and Western legends shine together, and this series has always become a box office dark horse with its own charm and character interpretation, and finally constitutes the gorgeous fantasy era drama system of Yojiro Takita in the middle of the period.
At that time, Tamasaburō captured inspiration from ancient Japanese paintings, breaking through the immovable expression of the traditional female white powder mask, and compressing the expression to the limit with a neutral personality, resulting in a pure and evocative situation. Mishima said: "This gentleman has the body of a newborn chrysalis, and when he sways on the stage, the most touching thing is the beauty that emerges from the temperament full of classical style." ”
Nomura Mansai, who came from the Kyogen family, and Ichikawa Somegoro, the youngest head of the Kabuki family, both succeeded in attaching similar imagery to this day– to this day, Abe Haruaki and Sick Leaf still float in the camera.
Traditional stage plays drag Takita out of the quagmire of expression and at the same time impose heavy oppression. A creator, the pain behind the scenery is often little known, a person who is willing to change himself and constantly open up unknown courses, this sense of oppression is even worse. The advent of the big screen era has revolutionized all visual concepts, and the wide-angle lens has visualized all the performances, and also directly and rudely deprived the audience of the last imagination space. The commercial context of the script, the cheesy and simple story, the linear structure, the special effects of the tension deficit, the weak camera performance and image shaping of the supporting roles, all consciously obey the protagonist as a whole; and the protagonist who is proficient in traditional stage plays, familiar with letting the magnesium lamp focus only on himself and gather on his own expression; if a certain person and an actor suddenly come to the vast outdoor scene, the props or space are not too few or too small, but suddenly become too much and too far-reaching, overwhelmed and confused, and now, If he can't harmonize the props, backgrounds, and screen expressions, he has to pay more attention to himself.
Compared with the narrow stage, the big screen is more intolerant of a certain person's temperament to become the highlight of the film, and the better the actor, the more concerned he is, the easier it is to make the film appear fragmented as a whole.
The film history of this narrow island nation began at the end of the 1920s: in the 1920s, there was Sadasuke Iisogasa, known for his innovations, in the 1930s, the realist Shimazu Hojiro, Kenji Mizoguchi, Yasujiro Ozu, Yoshio Naruse, Akio Naruse, known for his lyrical costume dramas, etc.; in the 1940s, the golden age of Japanese cinema came, and Konzaburo Yoshimura, Akira Kurosawa, Kanto Shinto, Ichikawa Kuni, Keisuke Kinoshita, Masaki Kobayashi and others came out of the crowd. The works recognized by the world are like a majestic mountain range, stretching for a century, the masters have come and gone one after another, their sharp edges are like the sword that has just started to be launched, the cold and sharp flashing of the sword blade is bright, the warm light of the reflection flows, those boundless talents and efforts are shaken on the spot, and more latecomers can only float in the endless sound, sound, light and shadow.
Compared with the previous masters, a latecomer faces a more mature and discerning audience, and he needs comprehensive control ability, more expression of his own language, more independent and concerned with private consciousness to stand in it.
Let those superficial comments go to hell!
"The Mortician" is a film that explains family ethics and kinship ("Secret" produced in 1999 has the characteristics of an ethical drama, and I watched this film in pain that was called "love idol drama" by the mainstream view, and the title seemed to be more "Purgatory" or "Heavenly Punishment". I began to believe that Takita's multilingual exploration and inner experience drama period were the same, and this was a director without boundaries. The 3/4 chapter of "Secret" is narrated cleanly and simply in a single main line, the supernatural events are only the tipping point, and the daily details support the whole story and bear all the inner conflicts. The way the whole film is handled, the final 1/4 chapter twist and the current name, I think it has a tendency to pay homage to Hitchcock), but there are really misleading reasons - the father's escape became the knot of enlightenment. In his memories, Daigo always resents in nostalgia, in resentment, and that entanglement is exactly the same father imagery in the literary world of Kafka, Rosa, and Bruno Schultz (if I remember correctly, Fassbinder and Truffaut also had this entanglement).
In "Fishing Fan Sanping", this symbol appears again. Reflecting her own experiences with the female colleagues of the firm in "The Mortician", professional angler Catfish Kawa Yusheng also recounted her childhood situation to Aiko Mihira. In terms of the role of the characters, the character setting of the catfish is only to make the plot progress smoothly, and as a work after "The Mortician", we can declare its narrative to be a failure (the same plot setting, Takita here becomes a helpless person, a weak and clumsy director) - here, the disappearance of the father also caused the lack of childhood: children grow up alone, lack of care, no reference system to provide support.
Misunderstandings, resentments, confrontations. Aiko denies the memories of the strange fish in the night valley, argues with her grandfather, goes to Tokyo alone, insists on taking her brother away, and does not want her and Mihei to only think about fishing like grandpa and father (perhaps the death of her mother is also related to this) - "That is a loser abandoned by the times." The death of her father is the knot in the heart of her beloved son, who hates her grandfather and hates this hobby even more. And "a happy person will not resent anyone." ”
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Memories, waiting for the climax to come in reality.
In "Entering the Mortician", Takita directly blurs the camera, while "Fishing Fan Mihira" uses backlight, Aiko's first memory: the sunset is setting, and the sunset is sprinkled on the back of the father and daughter - the image of fishing home is Aiko's last memory. Takita pretended to be indifferent, carelessly letting the dialogue and the glare of the golden sunset create a sense of alienation to distract the audience, in order not to highlight the intention, at that moment he let the faces of the three people disappear into the shadows together - before Aiko's forgiveness came, I was sure that I would not see Mihira's clear face.
In 1973, Takao Yaguchi's "Genius Angler" began serialization, when Yojiro Takita was 17 years old. The manga was serialized for 13 years. In 13 years, Takita went through the graduation job search, entered the "lion", from assistant to executive director, 13 years later, the 30-year-old Takita entered the field of general drama for the first time. In 2008, at the age of 54, he returned to shoot "Fishing Fan Mihira", choosing the mountain village of Akita Prefecture in his hometown.
In two films, where three people make up family roles, it's hard to tell whether it's a simple imitation or a plagiarism — I often wonder if a film's success comes from the power of the actors or the script, and how can the commercial interests be so great that a director's skills and feelings can be retaken? Unexpectedly, we may be able to tap into Takita's heart, where he tries to construct the father of the cinema conception in terms of the imagery on the screen, and the parents on these screens are all -- disappearing from the young life before the child is strong enough to understand and face life alone -- this mistake is almost unforgivable.
The two films of 2008 and 2009 opened up a broken family, and in 2007's "Baseball Partner", what was missing was love. Brother Qingbo's illness diverted all the care of his parents, and Grandpa said, "Small baseball is a testament to loneliness."
In the midst of his regrets, Takita continues to express his concern for his children (Dickens's struggle against traditional old-fashioned Britain, although unsuccessful, left a permanent place for children in his work: a world as beautiful as heaven, Dickens reveals that in addition to the cruelty of reality, you have dreams). His concern manifested itself in the Father and Son, who were also in the spell and could not be liberated, and the first thing he thought of was: the liberation of the child. He has such an urgent desire and allows the camera to create the premise of liberation in the unknown situation, so that the little protagonists can be freed. You see, when her mother shouted and cheered outside, Harada looked at the past in surprise - the premise of getting love from the family was: the brother is healed (the plot is in the end credits) - I was surprised that the more serious depression of the blue wave was getting worse and worse, how could reality be distorted with the plot? Daigo's father did get forgiveness, but he died alone before he was forgiven—it was the son who was relieved, not the father; the big fish was released, the rainbow shone on the river, the waterfall roared down, and Aiko let go of the sword of the heart that was fighting, at this time, the city or the countryside would be easy for her, and she understood that her brother would be able to treat herself well, so that liberation would end up to this point -- for the brother and sister's common father, Takita did not even care about his whereabouts--the truth is that there is no spoiled existence, and she must work hard to live alone.
The image of the father in the literary tradition is like a black hole behind the cosmic nebula, which has a strong attraction and devouring power for all emotions that suffer from gain and loss. It makes this misreading possible.
This is a work that explores the theme of life and death.
The more popular view is that this story explores the eternal meaning between life and death, and that only a correct understanding of death can truly understand life. For example, they say: In the film, the obvious Japanese symbol of the mass bathhouse symbolizes traditional culture, when the bathhouse is declining, the family bathroom is becoming more and more common, and the estrangement replaces the human touch, have people forgotten the traditional values that once praised the song?
Others set an example of what industry insiders grew up with, happily judging it to be a story of "doing what they did," and even labeling the pebble in their father's hand as inheritance and understanding.
Unfortunately, in the group memory of Chinese, the mass bathhouse is not unique to Japan. In addition, the above understanding illustrates the fact that behind the shallow and fragmented interpretation, the public's thinking discernment is becoming increasingly dull. This dullness also lacks access to the delicate gentleness and compassion that Ozu, Mizoguchi, and Yoji Yamada have accumulated throughout their lives.
If you take a moment to refer to Theoyama's film script and Hyakuse's novel of the same name, the mainstream view may not be so vulnerable.
Daigo worked as a cellist for four months, and in an instant it became a memory. At the moment, it was as if I was in the depths of a tunnel, I couldn't see the exit, I couldn't see a glimmer of light. In a dilapidated mansion where there is no elevator, Daigo plays a dead man in diapers in a gloomy photography studio, and his whole body is painted a corpse-like blue and white, except for a piece of diaper that is almost naked (novel). Daigo's expression is mixed with anger and shame, and there is also a sadness (script) ... The reluctance to face reality bites his broken heart more and more intensely (novel) - he feels that he is undergoing some kind of special test, and this speculation about fate makes him think and go farther and farther in his emotions: Is it retribution for his failure to send his mother on the last journey? Is it his own Jiang Lang who has exhausted? In speculation, he must have thought of his father, who made him learn the cello, and although all this was not directly caused by him, the resentment would increase geometrically with the memory - why moving? Why does it seem so real? Because, that's the universal emotion of being human.
Daigo sold his cello because fate no longer gave him hope, or rather, he thought that fate no longer gave him hope, "With the piano as a companion, with the piano as fun, with the piano as a life, why is there no such life?" "Finally, the symbol of the ideal— the cello — becomes an instrument of his pastime, and is no longer both an ideal and a profession on which to live."
The novel of the same name after the release of the play is divided into eight chapters, followed by 、、、、、、、。 From the plot point of view, it is a simple emotional release and structural integrity; to these two chapters, prompting the protagonist to temporarily find the basis for survival, in the play as both a profession and a second ideal, I believe this is just the wishful thinking of the story - the burial is a neglected or even declining industry, just met by Daigo and enjoyed in it? Frightened, where there is such a coincidence. If everything is judged by the appearance seen by the eyes, what is the heart! The cellist and the mortician, two parallel lines that never intersect coincide, which is purely the need for basic survival under the pressure! It is the rape of poverty to the sense of independence of the individual! These two chapters are more like leak-filling behaviors set up for no coincidence or no book. This is the result of the imaginary coarse sublimation of subjective subjects.
Hyakuse's novels ultimately overlap with the characters of Oyama Fumido and are spotless, because both live only in the depths of the imagination, while the former reveals the content and emotions hidden in the script more completely. However, it is difficult to reach a real reconciliation, and the protagonist in the film will eventually be rescued by the public, and the real protagonist can only continue. Since the public decides about the box office and gives bad reviews, and is always positive and righteous, that's why there are always people making a big fuss about the last minute.
It is said that the film was produced from a book that Masahiro Motoki read more than a decade ago (a funeral experience), and was moved to recommend it to seniors in the industry; Takita read this book and expressed it unexaminedly (sincerely and sincerely)", Producer Toshiaki Nakazawa felt that the subject matter might have commercial value and could be tried; after koyama Fumido was commissioned, he visited large and small temples and industry insiders, focusing on "the beauty of the funeral master's demeanor" and finally writing a script based on first-hand materials. Hisaishi didn't express any opinion, he's used to letting music speak (thanks to Hisaishi Jean, because of his soundtrack I finally stopped questioning the original intent of this article). And Ryoko Hiromi, she probably didn't have much to say, so she didn't say anything.
Either way, everything seems to be moving in the established direction.
The truth is that "The Diary of Nachaf" does not look like a novel at all, and it is a self-description based on professional experience, claiming to be a Zen work that contemplates life and death, and the author's own experience is also a legend. But why did the producer and Takita, unusually, abandon the story prototype with the influence of a 15-year readership and turn to Koyama to start again?
As you know, "", "", "" is based on the familiar manga originals, "Himitsu.2008.Keigo Higashino", "When the Last Sword Is Drawn.2000.Asada Jiro", "The Yin Yang Master.1988.Dream Pillow Tapir" three novel prototypes, the background of the times and the widely circulated folk tales are also one of the foundations. "" was originally a famous play of the New Sense Line Troupe.
The Diary of a Coffin Was Published in 1993, and three years later by the Spring and Autumn Publishing House of Literature and Art. The author, Aoki Shinmon, was born in 1937 in Toyama Prefecture, Japan, and was born in northeastern China in his early years. After dropping out of waseda University, he failed to run the catering business, and in 1973, he joined the funeral rites industry and worked as a coffin maker for nearly 40 years, so the book became famous in one fell swoop.
The Chinese edition of the diary, jingjue, had a conversation with Aoki and the English translator Shigehito Yokoyama, who said in the follow-up to the Chinese translation that "Pure Land True Sect (Shōshū for short) focuses on life and death, and Aoki develops his experience of The True Dharma as a believer in the face of all the troubles of life." Moreover, because of the needs of the profession, he always faced the dead, brought up a series of observations and deep thoughts on life and death, and wrote this book with this cause, examining the True Dharma from the peak. ”
This is clear.
Takita did not want to involve religion, but also needed a more free story background. As usual, he only used the industry to explore his heart again, and the theme of life and death was destined to blossom and bear fruit on the branches of the foil. Ironically, just by agreeing with the views of an abandoned book, the market begins to be self-righteous.
The film may have been sparked by Aoki's book, but the two are not related.
In 2008, Takita smiled at his own new film promotion conference in Shanghai, the wrinkles on his forehead flowed out of the past, and he was about to enter the 54th age of the year when he finished wearing a bow and dress. When the honor and aura hit wave after wave, Yojiro Takita encountered the same happiness troubles as Shostakovich, so he simply pushed the boat in the acceptance speech.
For a man with great ambitions to start a grand cause, 54 years old, after all, is still too young to deliberately explore life and death. In front of the audience and investors, the Japanese Stendhal is a promise, he buried the blood vessels of the alien under the surface of the theme, narrating his understanding of the human world.
On March 21, 2009, at the first graduate funeral industry recruitment fair in Shanghai, more than 5,000 college students crowded into 418 funeral positions on the spot, and the heat was close to that of civil servants, especially the makeup artist position was the most sought-after. Ha, this is the real-life version of "Infotainment".
"Entering the Mortician" is not a quick film, and the production cost is close to 400 million yen at the end of the final film, which is twice that of a normal movie (don't misunderstand Takita's modesty and ambition to become a predecessor after ignoring the humble face). Its structure is simply like a drop of water, the directionality is complex, it is more like a calm, soothing documentary, stating reality, seemingly rough branches and leaves to divide the theme of the paragraph, before and after the positive and negative supplements, but not in one place, no conclusion.
Takita submerges his intentions with a great deal of detail and discussion of various themes, and in the fog of inconsistencies, the audience is often brought into self-righteous thematic interpretations. Or, having no choice but to find a way to get into the heart of the problem it presents without a guide — untangling Ariadena's spiritual thread from the threads of the short-lived passions of ordinary life jumps — the more we delve into ourselves, the deeper we feel ourselves.
It's not easy to get rid of critics. Now, let's ignore the mainstream commentary, let the theme of life and death stand on the side, let the ethics of family affection stand aside, and let those shallow emotions disappear. It is only at the very bottom, in our eternal and unchanging existence, where the roots are, condensing ordinary emotions and present circumstances that we can hope to connect with similar themes.
This time, we were finally able to enter the film without any burden.
The frequent switching of short shots, continuing the composition of the traditional chamber drama masters, is stable, harmonious, with almost no color-inclined tones, the music jumps, and a middle passage is prepended.
The coffin cart was moving forward in the fog, the headlights flashing in the fog, and outside the window was a thin layer of snow on the plains of Shonai. Close-up of the protagonist's face, followed by a bland but general inner narration of the film: "It's been almost two months since I returned to the countryside in Yamagata from Tokyo, and in retrospect, every day has been uneventful" (there are subtle differences between the script, the novel, and the movie, which should be the result of deliberation during execution). The side of Kobayashi Daigo's face was slightly vicissitudes, slightly haggard, a little nervous, anxious and confused. This expression suggests that the protagonist is no longer young, but a person who is trapped in his heart and ambiguous about reality.
The car stopped in front of a snowy compound, the home of a young man who had committed suicide by sexual error. Daigo is surprised by the beauty of the deceased and then discovers the truth. Black humor is conveyed in restraint, but just as solemnly and heavily.
Yasunari Kawabata wrote about how a mother felt when she stared at her dead daughter, saying, "For the first time in her life, her daughter's face is dressed up, and she really looks like a bride who is married." Thanks to Takita, I first understood Kawabata's literary imagery in "Entering the Mortician Division".
It's almost a flat, straightforward story.
The opening scene is L.v. Beethoven's Ode to Joy. The exhilarating performance was dissolved under the decadent confession of the patron (I was hopelessly aware of the blue-gray fine silk scarf around his neck).
When Beethoven created Ode to Joy after he was completely deaf, he discovered a new language in the spiritual world that shone brightly in the darkness. Romain Roland said he was the most typical representative of controlling suffering.
Suffering is boundless and takes on all shapes. Sometimes it comes from tyranny and brutal retrograde, from poverty, from disease, from the injustice of fate, or from the evildoers; sometimes, more deeply, the reason lies in the disposition of the victim himself. The latter is equally pathetic, and it can also lead to great calamities; for our character, our lives, and our human beings are unselectable and unattainable.
The metaphor begins with this piece, not as people say about the dying octopus, which is at best symbolic.
Now, the crisis of unemployment is not just the high debt of buying a professional cello, the reality has never been more cruel - maybe he tried many times, maybe not enough to persevere. There is no explanation of how his youth was spent in the film, and cellist is certainly not his first job, but he must not have left the profession before, and it seems that it is still very difficult and unsmooth - an ideal that he once relied on and thought he would not change, with the end of his 4-month orchestra career.
Judging by the reactions of his colleagues, Daigo was the last person to know the message—a person who was too focused on his heart, sometimes slow to the changes around him, but extremely quick to capture the details of life and inner emotions. Unemployment and the fear of unemployment make Daigo suffer more than ordinary people – "The towns and cities of the world are our new homes. Let's go, play and travel. "It's not just sweet talk when proposing, it's also the promise of a romantic and amorous man. You can never imagine the pain of a husband not being able to fulfill his promise to his wife, and after that, as Shinnosuke said, he must "live as low as a dog" ([Samurai's Points].2006), and the sad thing is that he has to chew this taste over and over again after the fact - you can't imagine how many people have been completely destroyed by hunger and poverty in the difficult choice between bread and ideals, and they should have had a more brilliant future, sometimes, just a small step, even if it is only a centimeter. There may be a different future (just as I can never forgive Tolstoy, who was of the same era as Dostoevsky and had exchanged songs, but could never remember saving or occasionally receiving the greatest and most frightening writer of his time, who scattered his family wealth and allowed Tostos to go around like a wild dog in Eastern Europe for dozens of rubles).
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It seems that only a particularly difficult reality can clearly see the tenacity of a person against the world.
Two centuries ago, Dostoevsky built a cross for himself, and he burned himself with decades of inner fire, the son of God who had been tested the most and destroyed the most in the world, and his lifelong struggle with his heart illuminated the whole world.
In 1951, Akira Kurosawa still pays homage to this great Russian through the lens of the heavy ocean and the dense time of 83 years ("Idiot Hakuchi". The search for form and ideology made Akira Kurosawa shakespeare in the eyes of his European counterparts, Yojiro Takita did not try to repeat Akira Kurosawa's unparalleled magnificence and grandeur, and his tribute to Toshi went further, fishing, baseball, marathon, cello, everything can be used as a medium to enter the heart. He almost ignores love, and his appreciation is never sent out to support a certain ideal of a certain character, he is more concerned: whether the person falls into a difficult situation, how he struggles to survive in conflict, how to put the reality of survival and the ideal dilemma in a cup and stir. He sets up the plot, the scenes, the characters, the lights, and then sets up the camera, waiting patiently like a hunter, peering into the game of the prey in a limited space—the great forerunner, and the latecomer on the road, who step into the same river. Finally, you finally understand that a tearful smiling ending is just a routine to take care of the audience's emotions.
In 2003's "Humpback City", for the sake of a wider box office, Takeshi Kitano retained the humor of the original film, but was cautious in the details. We should know that all this careful and restrained flattery does not affect the true quality of the work.
Often, it's hard to position a director, a successful and commendable work, and it's even hard to separate the original, the writer, and the director from each other. After each work, the director plays a role that is rarely an original, but often a most powerful reformer, a master of management who coordinates the assignments, a dictator in a small circle, and a skilled and tireless gardener.
It is undeniable that among the surviving Japanese directors, Yojiro Takita has an experimental spirit that surpasses his peers; in "Entering the Mortician", he for the first time shows his excellent ability to clear the branches and perfect the details, prudently and restrained the use of grand narratives, summarizing complex themes and making the details metaphorical and progressive (the subsequent "Fishing Fan Sanping" confirmed that this ability was not handy enough).
This is not a transformation film since the era of fantasy dramas, but more like a reporting work from 30 years of film - although the "student era" has repeatedly surpassed peers, but it is the first time that the all-round bypass of the study has left the contemporary behind - his efforts have finally been recognized by both the East and the West - "The Mortician" is really like a documentary, and the focus on inner experience far exceeds the fun of the work - the rapid directing experience of that year is enough to keep him from panicking. When a director who has watched the release of external lust for enough and enough long walks down the path of the main drama, how terrible it is to be unhurried in his narrative.
(Stefanie Zweig语)。
When Casablanca was filmed in May 1942, it was only half a script.
Ingrid Bergman said in her autobiography, My Story: "I've always wondered who I'm in love with, whether it's Victor Laszlo, the leader of the anti-fascist resistance movement played by Paul Henley, or Rick, the bar owner played by Humphrey Bogart. ”
Director Michael Curtis himself didn't know exactly how the story was going to unfold, so he vaguely told Bergman, "I don't know exactly who you really love... It's somewhere in between. ”
Bergman was puzzled, "I don't dare look at Laszlo with a passionate eye, because then I have to look at Rick with a kind of eyes that don't contain love." ”
Humphrey Bogart complains to people every day, "I have to ask every day, 'Hey, what am I playing today?' How to act? Every time, I've been told, 'We're not sure yet, just act better.' ’”
However, it was Bergman's uncertain eyes and Bogart's enthusiastic gaze that made the film a reality.
Or some changes that even the director did not expect, the uncertainty of the external theme and the richness of the characteristics that are difficult to summarize complete the film - it successfully got rid of the setting of the theme of life and death of Oyama Fudo, and also far from the original wish of Masahiro Motogi - before the premiere of The Film was scorched several times, it began a journey of intersecting feelings that revealed the inner conflicts and experiences of an ordinary person.