"Ichimei" is almost unchanged from its original "せっぷく", and even some shots are copied motionlessly. It is a veritable "remake". If you don’t look at the original version of Masaki Kobayashi, and don’t consider the issue of "super not transcendence", "Ichimei" can be said to be another excellent work by Miike. The composition of Miike's lens is almost exacting and exquisite, the editing rhythm is calm, almost all shot with parallel angle of view, without looking down or looking up at the lens, like Tokugawa Ukiyo-e, closer to modern people's perception of the image of Japan in the Edo period. The two scenes of せっぷく did not have a lot of direct bloody shots, but the actor’s ferocious expressions and realistic sound effects created a huge imagination space. Imagination will allow everyone to reach the extreme violence they can bear, which is more than naked. It makes people shudder even more.
But to be fair, the film’s success still owes much to the foundation of the original. The mature story structure and in-depth theme made Miike stand on the shoulders of giants. However, the depth motion lens that can best express the 3D effect is rare in the film. Even inside the frame, 3D does not add visual effects such as layers. Except for the falling snow at the end, I am afraid that the 3D effect is best seen in the opening titles. Such technical effects are simply tasteless to the classics
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Takashi Miike's special effects are very restrained, neither abrupt nor exaggerated, with a slow rhythm and graceful decentness. However, I have to say that as a film reflecting on the hypocrisy and inhumanity of Bushido, "Ichimei" lacks sharpness and has not found a new angle to express this theme
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"Ichimei" continues the main line of "せっぷく" in the story, but its footing is quite different. "せっぷく" accuses the spirit of warriors and feudal thoughts, but "Ichimei" is sentimental but the lives are like ants and the sadness of the poor. For this reason, "Ichimei" uses a lot of pen and ink on the story of the old samurai Jinyun and Qianqianyan's begging for a girl, telling the relationship between them and the suffering of life. Among them, the child fell ill until the daughter of Jinyun committed suicide. This family's poverty and helplessness became the biggest tear-jerking passage in the film. Among them, Qianqianyan Qiu's home is always full of natural light, without any supplementary light, and this dim form further conveys a sense of sadness and realism. The only regret is that after over-exposing the bitterness, the two parts of memory and reality are emotionally separated from each other, and some of the film can't find the point. From the political "せっぷく" to the realistic "Ichimei", different creative ideas reflect the demands of directors of different eras. The classic status of "せっぷく" in the period drama is undoubtedly. Takashi Miike's "Ichimei" has indeed made some new ideas, but it is far from the classics. However, comparing any contemporary new-age drama with "せっぷく" is a bit bullying
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