Everyone is in a state of depression and confusion, and some people choose to escape from their hearts, but they will eventually be swallowed up by the emptiness of their hearts. Everyone chooses to be released differently, and when his secret is made public, it may be that he deliberately wants the outside world to see it, so as to achieve liberation.
Despite the bitterness of life and the gloom of our hearts, we ultimately just want to find a quiet little mouth, slowly release our emotions, and be true to our hearts no matter what. Escape is not the way, perhaps only in the quiet environment covered by white snow, you can quietly listen to your own voice. At that moment, under the cold white snow, it also became very warm!
Haruki Murakami's novel, Hidetoshi Nishijima filmed a bed scene after many years, and the appearance is indeed very attractive. But the facts have once again proved that using the Ozu Yasujiro-style lens language to shoot the pure metaphysical psychological activity of Haruki Murakami, even if the composition of individual shots is beautiful and the actors' performances are realistic, it is inevitable that it will become a film disaster that makes people lose patience at any time.
Although the Godard-style approach may be more suitable for the context of Haruki Murakami's thinking, this one-to-one long movie-watching challenge is still quite experimental.
The middle section is more beautiful, that is, when the possibility of telling has just begun. The beginning and end are not interesting, such as the boring conversation between the two people in the snow, the poetry of the garbage snow sprinkled by the garbage truck, and the inspiration and healing and tenacity of the few gestures of the dumb girl audition.
Another action that piqued my interest was the first time eye drops flowed out of the car with tape-recorded lines. For me, the more familiar the characters are in this story (though not really familiar), the less beautiful they are, the less mysterious alienation is and not enough to catch a horse.
Ryusuke Hamaguchi is really too special in art films, Haruki Murakami, Chekov, and Ryusuke Hamaguchi. Literature, drama, film, or the use of his favorite "river" image of the expression, or the familiar sense of architecture to build a bridge, the whole gives people a better study of Roland Barthes's structural linguistics.
It was the mortise that influenced the space and the art, and it was so fresh that it even smelled like a cold scalpel on marison's first show in 1989. But it is precisely because of this that Hamaguchi Ryusuke does not have the expression of a more personal hometown, so the expression of emotion is extremely weak, and it is difficult to form a fanaticism of believers.
What can we do, we have to live our lives well. We have to survive the long years, through the long nights, we have to endure the test of fate, even if we can't rest, we have to continue to work for others, whether it is now, or until our twilight years, until the last moment of our lives comes, we will leave silently.
In the afterlife, we can tell God that we are weathered by wind and frost, that we are groaning and weeping day and night, that life is too difficult, and that God will pity us. And you and I, we will see the bright and wonderful, dreamlike life imprinted on our eyes, we will rejoice and have a gentle smile on our faces, and then look back at our sorrow at this time, and finally, we will be able to rest well.
I believe, and I firmly believe in my heart, that when that time comes, we will be able to rest well. Even if the emotional pattern or the drama pattern is larger than "Chance and Imagination" but still makes people unable to empathize, and there is a kind of Japanese meticulousness everywhere, the three-hour movie may not need such intensive and informative dialogue, and Hamaguchi Ryusuke is always more serious and less free than Hong Shangxiu. In the end, Okada will grow much like Huang Xiaoming, a little greasy.
The story told while talking about love at the beginning is more textured, and after knowing that it is Murakami's text, I feel that it does have the characteristics of Murakami after hearing the story told by the sound. But the story felt better when the girl heard footsteps and ended. With the inspiration of the climax, the narration during sex and the forgetting to look back from the other party the next day become a connection between husband and wife.
Later, the appearance of the female driver わたり, her seeming indifference and life, gave the male protagonist something. I seem to remember that the driving car mentioned in the original text is also somewhat similar to sex (I don't remember correctly), わたり has learned superb driving skills due to the tragic experience of his youth, and whether driving the man's car implies something may be my personal feeling.
Gao Yue said in the car, no matter how much you love a person and know more about a person, you can't spy on the hearts of others, and if you want to see others, you must face and see your own heart. He looks directly at the camera and is a little uncomfortable, and there are too many scenes of noise in the car and the dark night in the film. In general, it is not a happy movie to watch, but more of an atmosphere to create.
The expressive desire of the plot is deep and cold, but the key role in the later stages of the text is passionate, non-restrained and closed-loop, so that it is necessary to endure this lengthy and boring form of writing. The car is placed in an image of escape, the female driver's intrusion is to break the balance between the male dramatist's life and spirit, to interrogate the self with the situation of the other, and the wife's "intrusion" story is a sense of disillusionment, a mission to summarize and fill the remaining emotions of the living.
Director Hamaguchi uses a film with a lot of dialogue to tell the audience about the limitations and failures of language as a communication tool. It is as if the wife's love for the male protagonist expressed in words, even if she is caught and raped, can still make him believe in his heart wishful thinking, she is just physically derailed, and both feelings and sex between them are tacit understanding. However, this firmness disappeared after the wonderful scene of the two male protagonists in the car.
When the second man told the end of the story, in addition to the confused male protagonist, who was poured cold water, there was me as an audience. Also, the second male and the Taiwanese actress, completely different in language, can easily get together. Interestingly, this is after he declared his sovereignty with the male protagonist in the bar and expressed his deep affection for the male protagonist's wife. Looking back, I realize that language makes the film full of uncertainty and mystery.
In short, "Drive My Car" is very literary, there are also many novel ideals, it is a beautiful film, and the Chinese words gathered on a stage to collide with a "Uncle Vanya" is my favorite part, and there is a dialogue between Mr. Jiafu and the tape of the audio recording in the car, which is a wonderful process.
The scenery is also very beautiful, allowing me to see a different scenery of Japan, some of which I have never seen in previous movies. The only deficiency, the acting skills of the supporting characters do not seem to be so online, the lines of the Chinese actors and the acting skills... Maybe this was also deliberately arranged, after all, the whole film is indeed a masterpiece of the designer.
Thank you for watching, paying attention to me, and taking you to learn more entertainment stories!