Movie master. The movies I usually watch are more like a commodity and a medium than "Kagemusha", but Akira Kurosawa's movies make people feel that they are in the art of watching movies. It may be because the Beijing Film Festival saw it in the archives. More of this feeling. The reason for this feeling may also be the alienation brought about by film and theatrical performances, as well as the very prominent design of composition, color, rhythm, scene scheduling, and persuasive way.
In the scene of the night battle, the scheduling of "not moving like a mountain" really made me feel like "this is the difference between movies and other arts." The grasp of the rhythm is also reflected in one place. Many dialogue scenes are shot in one shot. If the shot is not cut, the rhythm of the picture will be completed by the actors. What is amazing is that these scenes are not procrastinated at all, such as double exposure. Later, when the ministers were discussing countermeasures, Xin Ce sat down first, and then the other general sat down, and then sat down in pairs with the dialogue, neatly and in a clear rhythm.
Another feeling after reading it is that there is a sense of ritual everywhere, the etiquette of the lower and the upper is a sense of ritual, the decoration of the room is also a sense of ritual, and the costumes are even more ritual. When Xin Xuan was injured, the footage of the army retreating, the flowing red, green and white flags, really felt like an endless stream.
The arc of the shadow character is also very reasonable. From the thief to the actor of Shingen, he is still himself. From the actor to the unidentified person, he finally becomes the metaphor of the shadow. The shadow never meets the time. When he was asked to play Shingen, he was not prepared. When he was prepared, he was not needed anymore.
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