Stills from The Undead of Love
(※ This article has ray, read it with your own discretion.) ）
The matter of people and ghosts has always been a widely circulated subject in the folk, and in the face of all the unknowns, people often use values that are in line with society to turn into anecdotes and anecdotes. Empire of Passion is a 1987 French-Japanese film directed by director Nagisa Oshima. The story takes place in 1895 after the Meiji Restoration, when Japanese society is facing large-scale changes, and the film focuses on the story of what happened in a small village under the change.
"The Undead of Love" describes the emotional changes of the three people, and like many Japanese strange talks such as Hyakugo, there are ghosts and people, and cause and effect. Together with Toyoji, Ashi murders her husband, Ikozaburō, and throws them into a well, and the two have had a happy affair. Unexpectedly, three years later, Ah Shi saw the ghost of Yi Sanlang at home, and since then, strange things have continued. Ah Shi could not bear the mental fear, and the two of them began a series of days to escape the ghost.
Just like stories such as "Ghost Achu" and "Four Valleys Strange Talk" from The Tale of Hundred Things, the emotions of all the dead can also be seen in "The Undead of Love". But in this film, the emotional performance of The coachman Issaburo is not lively, and his undead rarely speak, and every move is silent, as if silently recalling the past, or making a final excuse for his emotions.
Isaburo was comfortable in his lifetime, and as an undead, he made these emotional characteristics more vivid through light and shadow and makeup. Interpreting him as the "Undead of Love", the emotions in it can be simple or complex; but more often, the camera gives information outside the lines. All of Yisaburo's messages are conveyed through others, and When He really appears, Isaburo is always silent.
In "The Undead of Love", the emotions of the deceased are smoothly presented through a small number of pictures: he who still misses his family after death, he who sheds tears, he who is vengeful, and the cold color scene interspersed between Fengci and Ashi is like a thorn, piercing out from the comfort of the two.
"The Undead of Love" also brings out the bondage and repression of many societies, as well as the unsightly indulgence. In the three main characters, the audience can see the process from birth to death, from the initial spark of Toyoji and Ashi to the later passion, the front of the film seems to show a short and gorgeous fireworks show, after which everything is eroded by the cold shots of the interspersed period, until the stolen beauty collapses.
However, this was not the case in Japanese society, and in the 27 years after the Restoration, society had begun to be ignited by civilization, and the era of swords and blood warriors had passed. At that time, Japan was undergoing an unprecedented great leap forward, ushering in a Western-style ship gun, system and norms, while the people of the Japanese Empire, which was approaching dawn and at the dawn of the dawn, endured hardships. The stories of Ashi, Toyoji and Isaburo are just remnants of the old times for the country.
In addition to love and hate, "The Undead of Love" has a special story performance. While adapting an event, Nagisa Oshima not only shot the traditional Japanese allegorical style, but also added a moderate amount of uneasiness to the picture under the catalysis of the sound effect.
The film screen deliberately creates the difference between the human world and Huang Quan, and after death, Yi Sanlang's every move is slow and seems to be a meaningful expression, and each Face of Yi Sanlang looks quiet and helpless. In contrast, the images of Ashi and Toyoko have more sex and struggle, the two meet and kiss in the rain, calculate and kill people together in front of a campfire, and linger after a mental breakdown again and again. The multi-act arrangement implies that Ashi and Toyoji are constantly on their way to collapse.
Behind these details, Nagisa Oshima delicately shows the audience the darkness of society, those seemingly barbaric and primitive desires that can never be taken away and hidden even after restoration. Although these small people are safe and self-contained, they are not completely without dreams, but even if they want to succeed and become rich under the great wheel of the times, their dreams will always be fragmented.
Since dreams are so far away, people turn to the pleasure of being close at hand - although Ah Shi tries very hard to hide his desires and play a good wife and mother under the lamp of morality, the body of desire will eventually reach the spark and let it burn. All subtle and inconspicuous desires are fragments of dreams, even gossip, even lynchings, and the farther people are from their dreams, the more they need these fragments to anesthetize themselves. The love that Ashi and Toyoji seek is immoral and selfish, and finally becomes a sharp blade called joy.
Although the plot of "The Undead of Love" is dark, it also truly presents the insignificant happiness of the repressed little characters. The nature of the story of the ghost strange talk makes the whole film exude a strong Japanese classic film style. Many storyboards have given a very large imagination space, and the atmosphere of the picture has also been sharply cut from the beginning, and as the plot moves, it begins to blur the boundary between the living and the dead, and allows the quietest undead to make the strongest expression.
After "Sensory World", "The Undead of Love" also portrays the strong spirituality attached to physical sex, and the male penis almost paradoxically becomes a life-saving spider silk in the event, maintaining the integrity of love and soul when consciousness collapses. From this point of view, the sex scenes under the guidance of Nagisa Oshima condense the artistry on the one hand, and deepen the ritualism on the other hand. The characters in the incident seem to be crazy, but they uphold rationality that ordinary people cannot understand, and at the same time, these behaviors are also tragedies under traditional society.
And these crazy acts have been arbitrarily interpreted and criticized in the changes of society, and have become the textbook of evil, an evil allegory that warns others, but not many people dare to admit that they have also pursued such evil and freedom. Whether such a spirit is noble or inferior, no one can deny its purity.
"The Undead of Love" is a film that combines the strangeness of the Japanese countryside with the cryptic criticism of society, through Ashi, Toyoji, and Iizaburo to show the struggle between human nature and morality, portraying the constant love and hatred between all living people and the dead, and narrated leisurely by the mouth of a third party. However, these stories are always just strange, and how many people hear the cries behind them is unknown.
All right! This time the K Sauce film review is here (^_−)☆, what do you think?
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