The world began to despair, God began to sing

Jamaal 2021-12-30 17:17:15



"Survival or destruction?" Another meaning may be "waiting for death or looking for death?" The desperate policeman in "Flower Fire" chose "seeking for death." His son died a few years ago, and his wife got cancer. He was being frequently called by the underworld because of loan sharking. The colleagues he worked with were dead and wounded, and he was brave and desperate to deal with them. The accident is on my own body and constantly blames myself. If this is the beginning of another "End of the Road", then our protagonist will rightly choose to survive, he will drive the car, whizzing through the entire west, let the photographer You can shoot the beautiful scenery of the Chaoyang rising from the hills of the Yadan landform or the Danxia landform. Finally, he will be beaten into a hornet's nest by bullets at the edge of the Grand Canyon in the music of "Beijing Nine". If this is a CCTV 20 A set of police and gangster dramas (actually, this opening is reviewed by Hong Kong movies and our TV series every three days), then he will be assigned to the small police station to register his account, and with the help of his confidante, he will tirelessly pursue the truth. , Until the underworld boss, who was wearing a black coat and had entered politics, was sent to a police car. But this is an island country surrounded by deep blue waters. They don’t have the western wasteland wide enough for the protagonist to escape. Moreover, they have their long-standing sense of loneliness, fate, and despair. They took a hypnosis class about "the impermanence of life", and this is another blue sonata by Kitano, so our protagonist unsurprisingly chose to "seeking death" (he seems to be "tired of life", but this time "Tired of living" is not the kind we are usually familiar with, but similar to "I have seen everything, I have nothing to see" in "Dancer in the Dark"), he came to collect debts Members of the underworld were wounded again and again and eventually killed (living in a prosperous underworld city, apart from hearing and seeing, I doubt whether the Japanese underworld is really as fragile and forgiving as described in the film), and drove with no expression on his face A taxi converted into a police car went to rob the bank (I also doubted the ease of robbing the bank in the film), and then sent various materials for painting to his injured colleague, and then to his colleague’s widow. Sent a sum of money, and finally went to the beach with his wife who was alive soon. After the gunshot, the music stopped.
A person with a hippy smiley face will feel untrustworthy anyway, and a calm and steady person will feel unreliable anyway, even though two people may have the same naive attitude towards life and do things. Clumsy and comparable. A painting that is not clever, with a golden frame will be even more vulgar, but if it is covered in black, it will immediately gain weight. Joy and joy often appear frivolous, while sadness and depression appear foresight. Kitano undoubtedly knows this. In his blue kingdom, expressionlessness is the actor's way to win. Being taciturn to avoid speaking less childish words, and the sad tone that covers all the transitions, makes Every action of all the characters has weight, despair makes them profound, the shadows of the eyebrows and eyes are extremely thick, and even the air appears lonely, although the story is somewhat thin if it is taken out of view. This is the power of sadness, and it takes more than experience and wisdom to show this sadness.
However, this cannot be concealed by the clumsiness of the narrative and the tediousness of the shots in "Fireworks" and other Kitano films. Those who like lengthy, slow, and dull expressions are not only him, but Cai Mingliang, and others. Although Cai Mingliang’s shots are lengthy, they are saturated with a kind of cold sensuality, which is even more observable. Fun and expecting all the time. This is the power of lyricism. Longness here is the best way to accumulate emotions. But the tediousness of Takeshi Kitano is narrative. So clumsiness and lack of change immediately become fatal. , He is not without lyricism, not without connotation other than the facts, but his lyricism is the lyricism of science boys, and it is a clumsy imitation of lyricism by men. He only sees the elements that will be used in lyricism: the sea, flowers, fireworks. , Realized what kind of common ways lyricism has: metaphor, contrast, projection, and covered part of the shell of lyricism: sentimentality, lament. However, his lyricism is from the outside to the inside, from the outside to the inside, and he has not allowed his own interest to really come out from the inside. He is actually not in this way. Therefore, it is not difficult for you to imagine who in the end became his loyal fans.
There are also memoir passages that he is not good at but most like to use. These shots often appear abruptly at the most inappropriate time, making people think that the pirate has picked up another film by mistake, and the way the connection is so clumsy And rude, it is jaw-dropping, as if a sentence like this appeared in the novel: Listen well, here are the memories of the protagonist! In the interview, Kitano once admitted that these reminiscence passages made him exhausted, but he obviously enjoyed it. He thought he had defeated himself, but he did not expect that he only exposed the process of his attempt to defeat himself, not the result of the final victory. .
Also, although we have repeatedly reminded ourselves: this is a sad story, but when the life in "Flower Fire" or other Kitano Takeshi movies is dead and dead, dead and reborn, it will not arouse us more compassion. When the characters in his films die, what we often think of is not "dead", but "dead". This "go" means approaching and approaching. When the fate of the person in his play is finally incapable When reversing, it does not cause us to pay more attention to the life and death of an insect. His characters have resistance, but it is not a resistance that any one of us can recognize, and even because they are trying to overthrow our rotten but peaceful life, we finally aroused our disgust. He originally wanted to express "the world is not benevolent", but because His roughness, his too stagnant, his eager desire to instill his thoughts about fate into us, and his odd stubbornness, we finally became vigilant and blamed all of this His paranoia. Too much taciturn appears to be wordy, too much accusation of forces other than oneself seems to be too much emphasis on oneself, once the results of contemplation and meditation interfere with the life of "here" and "this moment", it seems exaggerated and unfounded, time and time again , We are finally tired in his movie.
However, there are some of the most memorable things in "Fireworks", and that is the paintings of Takeshi Kitano: a white horse with a golden sunflower on its head, two bats with a water-red orchid on its head, and even a cat’s eye. White calla flowers, brilliant fireworks blooming in the black night sky, and the recurring theme of cherry blossoms, cherry blossoms by the blue river, and the most talked about painting, in pink cherry blossoms In the depths, the back of a man in gray-green clothes, beside this man, a short knife was stuck in the dirt. Also, my favorite picture-it appears in the subtitles at the end: a little girl in a floral dress standing in a dark green field full of red and pink flowers. The bright dots on the green background, the dark green is like twilight, and the flowers are not afraid, "very proud". It is not a gentle and sensitive heart, and has no patience to paint such paintings. These exceptionally beautiful, fragile paintings express a poetic film that did not make it part of the expression, "real life is the way to go through the other side of a canoe, life is crashed into the night sky of a Unit magnificent fireworks."
Most What else can I remember? There are also those recurring "gazes". From time to time, the policeman played by Takeshi Kitano will face the camera, expressionless, sinking there, as if to see his back in the next shot, and as if his soul is out temporarily. Qiao, separated from the self in the movie and the physical body in reality, standing calmly and with interest in the distance to see how this human self will continue, it seems that I am deeply tired of it. There, I remembered In the words of DH Lawrence: "But there is an anxious point of tension in their hearts, and there is a darkness in their eyes, which has been revealed throughout their lives."

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Extended Reading
  • Grayce 2022-03-26 09:01:11

    Bullet-like fireworks, warm and cold, the gorgeous blend of flowers and fire, the collision game between red and black, the extreme display of Takeshi Kitano on both sides, and the irresistible moving bloody romance. Compared with "Beware of the Evil Police", it shifts from a social picture to a private perspective, from emphasizing violent evil to emphasizing gentle protection. Kitano Takeshi's heart should be half rock and half clear water, this half comforts the other half, and the other half protects the other half.

  • Hailee 2022-03-28 09:01:08

    Snow, please fall into my darkness. Snow, I command you to fall into my darkness. Light, please shine into my body. Light, I command you to shine into my body. Bring the white and take the cold away. Get the kid who was in the snowball fight back.

Fireworks quotes

  • Yoshitaka Nishi: Next time, I'll kill you.

  • Miyuki, Nishi's wife: Thank you - thank you for everything.