- The origin of
The film that started me to appreciate the language of the lens is "The Thief Family". I used to hear that Japanese movies are of very high standard. Youth films and cartoons, such as "Love Letters", "NANA", "Span3span Bottom Hot Girl", Hayao Miyazaki series and so on. Every time I want to watch a movie, I wait for it to be cool. I really can’t blame me if I don’t know how to appreciate it. The big screen must have the opportunity to improve the audience’s viewing level. A room of toads can be picked out even if only frogs get in.
My B station pays more attention to film reviews and film commentary. I happened to see a film critic whose ID is the squadron leader. He watched the small-cost Chinese-Japanese co-produced film "Meet Nara" at the film festival. , I was full of praise in the video, comparing the director and Shiede Hirokazu. At that time, I just watched the thief family, and it was quite shocking. What kind of domestic movies can have such lens language?
and then finally waited until it was released. There were very few movies. Some theaters were even placed in 5-seat VIP halls. The price was more than 90. No one would choose to spend the most money in the morning to watch a small movie. Cost literary film. I was very indignant and thought of myself, who loves commercial films. It turns out that I am a supporter of low-end commercial films. Everyone is praising and stigmatizing commercial films with a box office of 4 billion. The whole network is discussing. When encountering high-quality domestic films, there are few supporters. Is the commercial film guilty or the audience guilty?
- background
The subject of this movie is a Japanese orphan in the 1940s. During the War of Resistance Against Japan, three hundred and thirty thousand Japanese settled in Northeast China and left thousands of Japanese babies after the war. Fleeing, these children were adopted by Chinese families.It was not until the establishment of diplomatic relations between China and Japan in 1972 that they gradually returned to Japan to seek relatives. I don’t know anything about this history, and used cartoon animation at the beginning of the movie to let me understand this history in the simplest way. Any language and text are just repeats.
This film is not about international relations under the background of war, or the impact of war on future generations. Everything is related to war, but there is no trace of war. There are only 2 small spots in the whole film. conflict.
In 2005, a grandmother Chen from northeast China (name unknown) was 76 years old, and she flew to Japan in Nara County alone, looking for her adopted daughter, Chen Lihua, who had lost contact for five years. Grandma Chen first finds the daughter of her friend's son, Hatsumi. Grandma Chen is the benefactor (nursing mother) of Hatsumi's father, and Hatsumi's father is also a generation of Japanese orphans, born in the northeast, and Hatsumi is of Chinese and Japanese origin.
- The pain of three generations
Hatsumi (Ozawa) did not have many explanations for her life experience at night in Izakaya. , I work as an assembly line worker in a persimmon factory during the day, and I do manual work when I’m free at home. I stick small flags with toothpicks and paper strips. One hundred can be exchanged for 50 yen (more than three yuan).
The only two conflicts in the film revolve around Hatsumi. She broke up with her Japanese boyfriend because her boyfriend’s parents did not agree with him to marry a Chinese. In order to help Grandma Chen find relatives, she asked for leave for many times. The foreman of Persimmon Factory threatened her to expel her if she asked for leave again. But she and her boyfriend are still colleagues, and her boyfriend will care why she always asks for leave. The foreman did not stop her when she asked for leave the last time.
Hatsumi is 26 years old and represents the younger generation. What I see from her is the pain of young people’s lives: working hard but still poor, love and marry should consider the concept of elders, and follow the orders of your boss at work, and you must first Choose to carry instead of asking for understanding. No conflict has erupted, but in all aspects there is an inescapable pain.
The pain of the younger generation is that, unlike previous generations, we have experienced war and compromised to alive. We don’t want to compromise, we have to experience the pain of breaking.
Another key figure is the retired policeman (I didn’t remember the name after reading it). The uncle I saw at the beginning said that Chumei was like his daughter when he drank, and he asked about his age and accent. . The second meeting was in an izakaya. Hatsumi and grandma chatted with him about Lihua, trying to find a clue. The unreliable character creation at the beginning is gradually reversed in the story. He told Hatsumi that he had met Lihua. According to the clues in the photos and letters, he drove the two people on the road to find relatives. They found Lihua’s experience with an old colleague. It is hard to imagine that without his help, the journey would be all No way to start.
On the other hand, there is another clue to find relatives, which is the contact information of members of the orphan organization given by Chumi’s father. At first, Chumi couldn’t get through the phone, but after reaching the door, the other party said that there was no qualified person. The clues provided at the end were to find relatives. Pushed to a climax, but it is not valid information either. What a great metaphor, At first, we placed hope that the most reliable people fooled things, but the strangers we met on the road did their best to accompany us to finish the road.
said back to the uncle’s pain,The story still does not introduce the background of the uncle. From the furnishings in the home, it is inferred that the uncle’s wife passed away. The daughter is a few years older than Hatsumi. She works away from home, but never contacted her father. That’s why he said to Hatsumi in the izakaya, "You look a lot like you." My daughter". When the neighbor received the letter, he took the initiative to strike up a conversation and asked if it was a letter from the child? The neighbor said it was a bank bill. In the conversation and expressions across the fence, I could see how a father missed his daughter. What's more, after Lihua returned to Japan, Grandma Chen missed his adopted daughter so much.
Grandma Chen must be very painful for her daughter's departure, and I think Lihua is the same. The movie didn't explain why Lihua had lived in China for more than 40 years and why he wanted to go to Japan. There must be difficulties when leaving one place to another. This is the greatness of blank space. If the movie does not tell you what happened, your thoughts and opinions will have the opportunity to be substituted. The movie blends with your thoughts. With a part of your creation, you are not there at this time. Outside the film, but in the film.
Interspersed with many people related to Japanese orphans. A deaf-mute person who was born in China and fled back to Japan after the war; was born in Japan and was taken by his parents to live in China since he was a child, married to a daughter-in-law from the Northeast who returned to Japan to settle down; both parents speak northeastern dialect and are at home A little girl who only speaks Japanese while watching Chinese TV...The whole film shows the living conditions of Japanese orphans most. There is no sense of belonging, no recognition on both sides, and they run into walls in front of relatives, colleagues, and tribes. , There is no place for them to have dignity in the whole world.
The old man who provided news of Lihua's death. His appearance was also intriguing. The old man made an appointment to meet at home, but he was drinking in the pub opposite, which was full of gray-haired old people. At the end of the conversation, the police asked him why you drank so much. He said that only once a year, he fell drunk and was carried away on a stretcher. This reflects the pain of the elderly life in Japan. The cats in the house are all three generations of the same house, but the elderly are unaccompanied by their side. They can only drink with everyone at the reception to get drunk. Such a life-threatening pleasure is also a way of fun. pain.
- See also Nara
The very similarity between Chinese and Japanese is that you usually express the very euphemism in life. Isn't it that you can't accept people who speak and do things too directly? There are three places to look for people in the film. One is a retired policeman looking for an old friend of the Personnel Department, who rang the doorbell and was not at home and drank in a wine bar; the second was to look for a deaf and mute person in a mountain with a temple, but did not find anyone, Chen Grandma and the uncle policeman sat on the bench with flags attached, and only saw the deaf and mute in the evening; the third is the end of the film to the village to find a suspected Lihua family, knocked on the door and no one opened, and heard the noisy drums in the distance , Follow the sound to find it.
I think this is the metaphor given to us by the director: People will not accept a result willingly, they always have to go through some twists and turns to accept the facts. This is existence itself, the inevitable pain of being born.
The moment I saw the end of the long shot , I was at first puzzled, and then I threw myself into thinking about the whole film. It was in this long shot that I understood that Grandma Chen had experienced the peace after despair before she came to Japan. From the camera without film and without opening the lens cover, Grandma Chen knew from the beginning that Lihua had passed away, otherwise she would not always receive a reply. I came to Nara not to meet a living person, but to re-walk the path my daughter had walked, to see the scenery her daughter had seen, to meet people who had lived with her daughter, and even just to find a death ,A fact.
- Postscript
After watching the film, my eyes are sore and crying. Walking in the sun, this pain quietly disappeared for half an hour. The first time I feel that a movie is an art. Although it records life scenes, I don't know what it will feel for the audience before I create it. It is a creative product of a combination of shots, lines, actions, and performances.
At this moment, I was at the intersection of my hometown and Beijing's thoughts. At the right time, I encountered a suitable movie, just like a wave crashing on the coast and roaring. The film that also gave me thinking about the meaning of existence is "Spiritual Journey". In the few days after watching the movie, I slowly re-experienced the way of looking at life, but "Meet Nara" while watching the movie , I fell deeply into it and encountered existence.
