Late at night, Takeshi Kitano, who had just finished recording the show, was slightly tired. He slipped into his car, and the driver was preparing to take him back to his mansion in Setagaya, Tokyo.
However, before the car could start, a man carrying a pickaxe came to the front of the car and slammed it against the window. The body glass has been specially strengthened, not broken but also smashed. The man slammed and grinned, "Takeshi Kitano, you get me out." ”
On September 4, Takeshi Kitano was attacked with a blunt object while riding a car, but fortunately he was not injured
This man is a member of the violent group "Sumiyoshikai". A few years ago, he had pleaded with Kitano Takeshi to accept him as a disciple, but after being rejected, he became resentful and had this attack. In addition to the hoe, he also brought a knife.
Takeshi Kitano, who is over 74 years old, must have been frightened in the car. But to say how frightened it is, I'm afraid it won't be.
After all, this scene has long appeared in his "Violent Man" made thirty years ago.
Fragment of "The Violent Man"
The misunderstood norm
In today's Chinese public opinion field, the image of Takeshi Kitano is often portrayed as a "punk boss" by a group of public writers who study subcultures.
Shelling this, poisoning that, fits the rebellious spirit that young people pursue.
But if you know his life, you will know that Kitano Takeshi is a much more complex person, and it is easy to be misunderstood by some people who are slightly superficial.
Takeshi Kitano
To understand a person, you often look at it first. From the looks, you know that Kitano Takeshi is not a good person.
The angular facial features, the solemn expression, and the extremely strong eyesight reveal a fierce force, as if to see through you, it is difficult for you to imagine that this person was actually doing comedy before.
And his comedy is also the style of "people don't talk much". In the manga performance, he is the "ボケ (pretending to be stupid)" in the "Double Beats" group, "Beat Zi Wu".
Different from ordinary pretending to be stupid and taking responsibility, telling some views that are obviously out of common sense, "Pat Zi Wu" exports his observation of life like a cannon, fast and fierce.
"There are many traffic accidents this year, everyone pays attention to safety, and remember that 'when you run a red light, you will have no problem together.'" "That big aunt in the audience is like a singer Yaeko." It is fatter than the yaeko's face, the nose is a little more collapsed, and the chest is hanging down a little more. ” "I heard that Japan will issue a new law next year, and in order to solve the problem of the aging of the child, all over 80 years old will be executed."
"Double Beat" combination
Jokes about the elderly make the content of the "double beat" unique. In their passages, there has never been any respect for the old and love for the young, and some are constantly violated, violated and violated again. From the loose appearance of the elderly, to the decaying memory of the elderly, to the meager contribution of the elderly.
At one point, the TV station was protested, saying that the "double beat" paragraph was too much and undermined the dignity of the elderly group. At one point, the TELEVISION station hid them in the snow and did not let them appear on stage. Even if you are on stage, you will be given the last garbage time.
But just like a laxative, the Japanese hatred of the elderly who "frequently harms the old, but dare to be angry and difficult to speak" has an outlet through the passage of "double beat", which has not only gained the broad consensus of the audience, but also in the comedy environment of the margin of safety in Mancai, it will not disturb the so-called social morality. The popularity of "double beats" is extremely high.
In 1976, "Double Beat" won the NHK National Comic Talent Championship, the recognition of the most authoritative and benchmark tv channel at that time, making Kitano Takeshi a household name ever since.
For example, Takeshi Kitano's status in the Japanese manga industry is equivalent to Guo Degang in the Chinese cross-talk industry.
But unlike Guo Degang, who is a bad film, Kitano Takeshi's achievements in movies can be called a master level.
The concise and powerful "Ferocious Man", the beautiful and heart-wrenching "Hanabi", the tender and childlike "Kikujiro's Summer", the unique "Humpback City", and the violent aesthetic of "Extremely Evil".
Stills from "Humpback City"
The films he directed were not of the same genre, almost every film was different, each one was not boring. The Japanese director of his contemporary is more calm and restrained, restrained and depressed, but he has a rich bridge design, and many clips have a sketch-like sense of black humor.
Sometimes his style is extremely cold, and the violent scenes are crisp and cruel. During a fight, the limbs and life seem to be taken away in milliseconds, and the realism it creates makes it difficult not to doubt how much realistic fighting he has experienced.
In his autobiography, The Rest of His Life, Takeshi Kitano once wrote that I once got into a fight with a violent group and beat four of them all over the streets. Even in the underworld, I can't make a mistake. Whether it's a revolver or a dagger, I'm not afraid at all. Since then, the reputation of "fierceness" has spread.
Stills from Kikujiro's Summer
Sometimes his style is gentle. In Takeshi Kitano's films, there is always blue, the sea, and flowers. Women are often the spiritual pillars of the protagonist, and the presence of children often leads to violence and death.
All in all, you rarely get bored when you watch Takeshi Kitano's movies. His style of not dragging mud and water, wandering between extremes, made his audience transcend national borders very early on, and had a large number of fans overseas.
Old slash youth
Kurosawa
In film, Takeshi Kitano achieved quite a high level of achievement, and was the most award-winning Japanese director after Akira Kurosawa. Before his death, Kurosawa even wrote him a letter with the sentence, "The future of Japanese cinema is up to you."
But whether in the field of comics or in the field of film, he did not continue to do it deeply. He once said that neither comics nor movies are the work he really wants to do.
What exactly does he want to do?
Takeshi Kitano has revealed that he is a schizophrenic with multiple characters living in his body. These characters are dolls for him, and whichever one you want to play today, take that one out and play with. For example, if you want to record a variety show today, then send "Pat Zi Wu" to talk about the passage. Tomorrow I'm going to make a movie, so let Kitano supervise appear.
Takeshi Kitano is a regular guest on various variety shows
There are so many roles that the labels of comic talents, funny artists, directors, actors, hosts, singers, screenwriters, painters, writers, etc. are not enough to label his resume. Before the word "slash youth" was invented, this great master was already playing with fire.
But no matter how many characters there are, there is a point of origin. For Takeshi Kitano, it was Asakusa.
Asakusa, as a representative old city of Tokyo, still retains a strong Edo period style. In the late Edo period, theaters led by the three Edo (Kabuki theaters of the Edo period) migrated here, and around Sensoji Temple, a considerable number of entertainers gathered here to make a living and run for fame.
Asakusa Performing Arts Theater
Takeshi Kitano wrote a memoir.
When I thought about what to do after college, I felt that the best profession was to be an artist in Asakusa. Because Asakusa's life guarantee is very romantic, being an unknown entertainer in Asakusa, drinking alcohol every day, alcoholism and slowly waiting for death, is the charming place of this land. "Let's be a comedian in Asakusa," I thought and went. Later, I found out that there were so many people who had such ideas in Asakusa. In the 1970s, when Asakusa was performing, Japan was moving from a period of high growth to a period of stable growth, and Japanese people began to live a prosperous life. However, Asakusa's performers can be said to be beggars. Not only is there no money, but mentally like a beggar. After becoming one of them, I couldn't leave my mouth every day, so although I was very happy, somehow it was still unbearable.
He never shyed away from his debut in Asakusa, and even wrote a song "Asakusa Kid" to remember his origins. In his memoirs, Kitano's emotions are contradictory. He also envisions idle days, but he cannot still be indifferent.
At the Red and White Song Festival, Takeshi Kitano sang "Asakusa Kid"
And this contradiction seems to run through his life.
When he gets approval for something, he inevitably feels bored, and he challenges new things again. Whether it is a profession, a film selection, a criticism of the elderly, tradition, or even the home country, he hates the old things, hates the boring things, and rejects the immutable things.
French writer Michel Terman, after following him for a few years, summed up a sentence as the title of his ghostwriting self-description, "Boring Life, I Don't Want to Die."
"Boring life, I don't want to die"
Detached calmness
In Takeshi Kitano,you sometimes have to lament the creator's favoritism. The high attainment in many fields is obviously more innate talent than an acquired effort.
He said that when he did a lot of things, he had an unusual calmness.
In the performance of comic talents, when the scenes are gradually warm, ordinary comic talents will gradually become excited, and then become unable to control the rhythm of the performance. But the more excited he became in the audience, the calmer he became. Calmly thinking about when to throw away the baggage, when to snap a turn, Bo a lot of laughter.
In his meticulous calculations, the audience is like a marionette, and he is completely driven by the rhythm. Takeshi Kitano said that it was because he felt that his control was getting bigger and bigger, and he gradually lost his enthusiasm in the subsequent performances, and he lost interest in manga.
In fights, there is also this calmness. Kitano Takeshi, who is short in stature, used to walk around his waist like a boxer, said that in the countless fights in his life, there was almost no excitement. Deciding where to attack, which time to take a hard hand, and not stopping to determine that the opponent has lost the power to fight back, until the victory or defeat has been divided, it is an unusually calm state.
This calmness has achieved Kitano Takeshi's observation.
To make a 5-minute comedy, anyone can do it, and a true comedy master requires decades of consistent laughter. Takeshi Kitano collects observations from life every day, compiles them into segments, and continuously outputs them to various variety shows under the pressure of the camera, which is absolutely impossible for people to do.
Spit on the embarrassment of the opening ceremony of The East Olympics
The extremely high observation ability also makes Kitano Takeshi's cognition more jumpy. The recent circle is the part where he complained about the opening ceremony of the East Olympics, but in his decades-long "history of poisonous tongues", it is a small story of a dime.
Rather than a Japanese national, Kitano's perception is more of an internationalist.
He criticized the government for not looking directly at the problems left over from history and never being able to win the forgiveness of neighboring countries; he criticized Japan's men for inferiority and women's inferiority, and women's injustices in the workplace; he criticized traditional Japanese culture, saying that he was completely unable to understand material mourning, silence, and even samurai caesarean section; he made unsatisfactory works, and he would scold himself, and the producer had to beg him not to scold again.
Just like Zhang Mazi in "Let the Bullets Fly" with a gun in one hand against the enemy and a gun in the other hand against himself, Kitano Takeshi thoroughly fulfills "criticism and self-criticism".
Stills from Let the Bullets Fly
Too real, too calm, but also let Kitano Takeshi have been troubled.
He confessed that he was a bit "love incompetent" in terms of family affection. Relatives, children, wives, or wives, they are always not close to them, but they feel that they have the minimum obligations to them, and they cannot enjoy the so-called "happiness of heaven.".
Kitano Takeshi couldn't understand or experience this happiness. I'm not cold to them, but I'm just making a show whenever it happens. None of the same things work. When he was a child, when everyone was happy to play games together, he couldn't do it, and in order to avoid sweeping everyone's happiness, he could only pretend to be happy.
The lone Takeshi Kitano doesn't care how others see it or whether it's misunderstood.
Blocking the door of the TV station and being asked to accept disciples, this is not once or twice for Kitano Takeshi, and he also collected a group of aspiring young people including Matsuo Rinuchi, Tamabukuro Shigataro, Dr. Suidohashi and so on.
A few years ago, the man who attacked him knelt in front of the car and asked him to accept himself as a disciple. Although he knows that he is a violent group, although he sees his sincerity, he does not look at it is not looked at it, even if he knows that there may be trouble, not to accept it is not to accept it.
Stills from "The Violent Man"
Even if it happens again, Kitano's answer must be the same.
If uncle hadn't been older, I suspect he might have kicked the man a few feet like the cop in "The Violent Man."
Author | Gu Yue a knife
Edit | Reimer
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