Uncle Kuan’s powerful acting skills are very contagious. The most impressive scene is that the old monk told Yasuo Ichikawa who was holding his child on the snowy beach that he wanted to make him the sea, because the sadness like snowflakes would disappear when it fell into the sea; the old monk asked him to remove the blanket from the child and expose the child's back. Because he lost his mother, he would always lose the support for maintaining warmth. I discovered a law: whenever it comes to warm-hearted movies, Uncle Kuan's character must have a scene where is Korey Yukawa bathing, either a frustrated middle-aged man after divorce or a single father who has lost his spouse. I don’t quite understand why Uncle Kuan always likes to find fault in the neighborhood at the beginning. The boss lady of Izakaya has not changed from beginning to end. And Kitamura Keihi plays a middle school student, but it really doesn't have a CP feeling when standing next to Apricot, especially when it comes to playing the role of his father, it's abrupt, and the voice is completely inconsistent. Why is Uncle Kuan getting older again? The photos of the elderly with their foreheads exposed in the photo really scared me.
3 3.5 stars. The trailer spoils the entire content of the film, resulting in no surprises in the plot, which depends on the emotions and acting skills. The youthful days of Kuan Shu’s role are a bit exaggerated, but the reaction of akira to marry Yumi, who is 7 years older than him and a 3-year-old boy is really amazing. Kitamura's younger brother jumped out of the girl's romance route and continued to make progress, but the continuous blinking trick is still worth discussing; it seems that the shooting cycle of this film is a bit fascinating, with different hairstyles in different ages; the stingy head and old stump are all striking, it's really excellent!
Apricot and Kitamura Keihi can rank first in the least screen couple this year... The acting skills of young people are really hard to describe in front of their predecessors! Not to mention the level of Abe Kuan and yao Master Maruko, Oshima Yuko is much better. It is better for adult male protagonists to change actors. No matter how Kitamura looks, they are all children wearing adult clothes, and the final makeup of the elderly is even more terrible. As soon as they open their mouths, they make people lose their role in a second. I really want to watch the TV series version of Takesato, but unfortunately I can't find resources everywhere. ps. Sister Kumiko is still very beautiful.
. Although the plot is dull, I still like this type of movie. An Nan and many people in the town are macho people, and only women can empathize with Miyu in the situation. The parent-child relationship reflected in the movie actually represents the family structure of most East Asians. Sometimes I feel quite warm, but sometimes it is also a kind of restraint. Many years later, he finally said to his father, "Thank you for giving birth to me", which is also a kind of reconciliation between himself and his life.
A father and son who don’t know how to express love, but always give each other love, is very good, but it’s a bit slow, and there are several nodes that I think can be ended, but they still keep calling back. For example, when the grandson asks his father, is his grandfather happy in his life? My father said that when I saw it and asked, it would be almost enough to commemorate the first open-air movie experience of the Italian Film Festival in the Ancient Brewing Area. It was very beautiful! The first half of
is limited to the duration, and the emotional details of father and son have not been unfolded. They are quickly told with time as a node. They should not be as delicate as the drama version, and they are waiting to be supplemented. The emotional treatment in the second half is more solid, pushing it to the top, moving with emotion. Focusing on the iteration of father-son relationships, common emotional experiences and emotional relationships, hidden passive but deeper family affection than the sea. It is difficult to see the passing of life and the emotions of the people left behind in it, movies can.
13 drama version was the first. Although Uncle Kuan, Uncle Xian, Aunt Bozi and others performed well, it still felt that due to the length of time, the accumulation of emotions and performance of the drama version was not as delicate and long as the thickness. PS. Apricot is about the same age as Yuko, and she actually plays a role as a younger generation. It is also a bit outrageous to join Kitamura to join the CP??
Because of Mr. Abe Hiroshi, he wants to go and see. The father-son raised alone after his wife passed away to save her beloved son. Although it is old-fashioned, she always makes people cry in the details. The truest love and deepest love can never escape the small family.
gives strength when depressed and guides the direction when confused. The reason why this father group (including the old monk's family and the tavern owner's wife) is empathetic is that it maintains tradition and responds to new changes from three generations.
was processed too fast in the first half of his life, and it was a bit of a domestic film model play. It gradually returned to its level later. Although the story was cliché, it was not ugly. Xingzhen was the true character. Her husband ran away when she just gave birth to her child...
is too revolving. The drama version is touching because emotions and feelings need to flow slowly, so there is no need to press into 140 minutes to walk through the motions. Sister Aso is so beautiful. Uncle Kuan and Hamada are really funny. XD
can not only see that the folk customs are well inherited, but also see the good humanistic relationship between people and the touching father-son family affection. As the times change, people are slowly getting older, and life and time blend.
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号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号号The film will be directed by Keihiro Sese ([Stories of Heaven]), and Abe Hiroshi and Kitamura Mikihiro ([Niannianshouji]) play father and son in the film. The story tells the story of Ichikawa Ano who works in a freight company in Japan in the 1980s. His wife Misako Ichikawa had just given birth to their son Ayu, but an accident caused Misako to lose her life. In order to protect Ayu, An Nan and the people around him decided not to tell Ayu about his mother's accident. The film will be released in Japan in 2022.
