I have never been afraid to face the limited length of life, because I have long been transparent about the principle of repairing the short and ending, and since the fate of life and death is useless even if it is entangled, it is better to simply accept it. However, although man cannot control the length of life, he can and should still be obsessed with how to extend the thickness of life.
Play life in the light of the light, a quick glance at countless people and things in the world, but it is impossible to take away, only karma with you, so often reflect on whether what you do can be worthy of your own heart, but also worthy of others. It is not a luxury to make some earth-shattering contribution to the world, but to hope that the world will happen a little bit because of its own existence, even if it is a fleeting joy and beauty, it is enough, even if it is a lifetime. So after seeing the movie "Yokomichi Seinosuke", I suddenly felt a sense of resonance with the characters and creators in the film.
In 160 minutes, a story about death and remembrance is told in an interlude way, directed by Shuichi Okita.
The first sun shadow I remembered was The work of Shuichi Okita, which laid the foundation for my understanding of the tone of the sun shadow: mediocre, gentle but particularly moving, using an almost white painting technique to tell the story, as if the trivial things in life are plated with flash points, restrained when the love is deep, and the taste of life and death is expressed without thick ink, lifting the weight lightly, making people feel extremely comfortable after watching it, relieved and indifferent. The overall structure seems to be loose, but in fact, there are echoes hidden inadvertently, and the emotional connection is unusually close.
The same is true of Yokomichi Seinosuke.
A humble boy in the crowd, but with his own purity, optimism and frankness to influence the people around him, so that when people look back on the past many years later, they will feel that they have earned it when they meet him. This is Yokomichi Seinosuke.
The film gradually enriches the role of Seinosuke through the memories of the four groups of characters, and the theme is naturally brought out: the world is too big, so big that we may be lost in each other's lives in the blink of an eye, and play in rare encounters, or bland or violent, whether it is a close friend or a nod, whether we have really approached, changed, and touched them. Then, after saying goodbye to each other and before reuniting, whether you can not be forgotten by the other party, and occasionally think about it on a windy night, you will feel lucky.
There are three scenes in the film that I remember the most.
The first is a scene where Seinosuke visits the poet's cousin, who tells Seinosuke that he should dance when he is young, so he pulls Ozawa along and writhes around in his cramped room. This reminds me of the scene in Li Cangdong's "Burning" in which Hyemi dances in front of Zhong Xiu's old house, dancing in the afterglow of the sunset, just like people who have not yet solved their own little hunger, but still unconditionally yearn for the great hunger of life, fascinated by it, and strive to pursue.
Si is a burrow, but there is heaven and earth in his heart, and everywhere he goes is vast.
At that time, Seinosuke did not dance with his cousin, but in fact, he had laid a good foreshadowing, suggesting that Seinosuke's life had finally bloomed out of his own unique scenery.
The second is the scene where Seinosuke helps Kuranosuke to move when Kuranosuke confesses his heart with his back to Seinosuke, and his nose is sour when he looks at it. Floating in the torrent of life, who has been indestructible, who is unbearable and heavy, especially fortunate to have someone to accompany themselves to survive, try their best to hold on, will always see the new world.
The third is the scene of Seinosuke and Shoko calling each other names in the hospital, and the servants on the side are in tears, but I feel infinite warmth. Youth and first love are always so sweet, but they seem clumsy and childish, and even such a simple thing as calling each other by each other's names can feel extremely lucky, probably because of this simplicity.
At first, I didn't understand what the director's intention was to deliberately arrange for the maid to be present, until the hospital scene, I understood that the maid's performance not only set off the beauty of the love between Sennosuke and Shoko, but also implied that the later part of this love story was a sad ending.
But if you can remind your lover of the sweet and happy words after many years, this meaning can finally make up for some sadness.
In fact, there are many places in the film that hint at The end of Seinosuke, such as when Kato recalls Seinosuke, the lover says that he seems to have seen Seinosuke's name somewhere, and when his grandmother dies, after the death of his grandmother, Nosuke asks Sakura if everyone will cry for him when he dies, will she remember him.
Yes, everyone remembered him, but instead of crying for him, as Sakura said, they all laughed and laughed happily, and everyone felt that knowing Seinosuke made me happier, which made me look at myself involuntarily.
A trip to the human world, the hour is inevitable to regret to leave the seat early, when someone comes to visit, is the memory spreading some things that make people feel happy and happy?
If, when my skin bag was about to decay into dust, I thought back on this life, and there was a minute and a half that made others feel that it was a fortunate thing to know me, then even if I couldn't reunite with you after this time, I think I would have no regrets.