When I was young, I didn't like Imamura Shohei, and he was afraid of his coldness, but was touched by the empty mirror when the ice melted in [Narayama Festival Test]. In the past few years, I was moved by Imamura's compassion. Yasujiro Ozu sneered at Imamura back then, dismissing his script performance as being too dirty, so Imamura had to switch to Nomura Yoshitaro. It seems that the Japanese film studios back then did not know how to partner with veterans and newcomers. Compared to this pair of combinations, it was even more embarrassing. It was the great award Mizoguchi Kenji and his deputy director Yasuzou Masamura. Masamura, who returned from studying in Rome, later criticized Mizoguchi. Both Masamura and Imamura later became the standard bearers of Japanese movies in the 1960s. Their departure from traditional Japanese culture brought new expressions, new themes and new techniques.
There are too many similarities between Imamura Shohei's [Vengeance is in me] (1979) and the Gosha Hero's [Thin Makeup] (1985). I don't know whether the latter is influenced by the former. They are all starring Ogata-ken, they are all based on a notorious serial murderer as the core character, and they all use anonymous escape as the main line of action. In his life there are two women who have the deepest influence on him, and it is not difficult to even see Both directors have an indescribable compassion for this villain, and the opening scenes of the two films are very similar, both with a flashback narrative structure. The difference is that Imamura is more desperate than the five companies. At the end of [Vengeance], Enotsu Yan kills Achun and his mother who are so attached to him. He even believes that Achun has his child in his belly; At the end of Makeup, Sakane couldn't bear to hurt Chie. Chie tried to leave behind her temporarily stable mistress life and follow Sakae to escape. The two silently looked at each other at the train station...Enozu Yan and Sakane are weak like maggots. They dare not challenge their power to persecute them more, and instead continue to kill people who are weaker than them. However, Enozu Yan finally seems to have insight into this deep meaning more than Sakane. He is very concerned about Achun and the child in his belly (whether he is really pregnant, Imamura). (There is no clear explanation). He did not want them to live humiliatedly in the dark world. At the same time, Enotsu Yan’s hatred became stronger. The last part of the film is that his father and Kazuko went to the top of the mountain and threw his ashes. His ashes floated in the air and refused to fall.
[Vengeance is in me] Perhaps it is Imamura's best work. From the structure to the single scene, every process is impressively controlled.
The escape career is mixed with the background of the past, and the characters' actions should also emphasize the influence of the characters' history on the characters' current behavior. This kind of drama structure is very difficult, spans a large timeline, and is often easy to account for functional explanations. The structure of [Vengeance] is quite beautiful, and the three timelines are perfectly integrated. In the first time line, from the beginning, Enotsu Yan was captured, but he appeared calm in the angry crowd. On this time line, interrogation and evidence were added until Enotsu Yan met his father for the last time, five months later, Father and Jiazuko threw his ashes.
Shouted and hanged the people of Eno Jinyan. Enotsu is severely heinous, but the civilians are also numb and only know to protect themselves
The army snatched Enojin Yan’s father’s fishing boat and beat him; the boy Ah Yan hit the soldier’s leg with a wooden stick, and his father pulled Ah Yan to his knees and promised to hand over all the fishing boats to the "state."
This scene took place in broad daylight. There was only one soldier at the time, but no one stepped forward to stop him, just watching the father and son being bullied from a distance.
The light of this scene can be understood as the flashlight of the media, but it is still strongly subjective, and it may also be understood as the main source of tourism.
Enotsu Yan, who was being interrogated, suddenly bit his nails and asked the police for nail clippers. The details are handled very well. I do not know whether it is the idea proposed by the script, the actor or the director. It not only shows the murderous cold blood of Enotsu Yan, but also implies that he may have been mentally problematic all the time. Later, in the second timeline. , Enotsu killed the lawyer he encountered, sealed it in his closet, and asked the dead owner for a corkscrew, and then tried to strangle him.
The second timeline serves as the main line. From the first crime of killing two people in a row, fleeing is the main action, until the final killing of Achun and Achun’s mother Kuno. Achun often finds a little prostitute who serves the client and finally reports it. After Enotsu Yan, the end of this line was immediately followed by the beginning of the first line.
The third timeline includes Eno Tsuru’s boyhood. His writing was not much but indispensable. The boy Ayan witnessed his father being bullied (the family is a Christian, and the army forces all the boats in the family, and this policy is specifically aimed at Christians. And the Catholics, echoing the ending father and son’s last time in prison, discussing that neither of them can enter the Christian cemetery), Ah Yan stepped forward and beat each other with a wooden stick (this was the only time Ah Yan was fighting back against someone he really hated. Kazuno responded to his cowardly seeing through), but his father knelt down and agreed to hand over the fishing boat; in his youth, he stole US military vehicles and bullied people as weak as himself (Kazuko appeared), marrying Kazuko against his father’s wishes, and remarried after a one-off divorce. (Insert Kazuko’s father from the omniscience perspective), until he ran away from home after he was released from prison (a billiard shop, Ah Yan told his mother about his new job), the end of this line became the second timeline prelude.
There are multiple killings in the film, and the performance is different each time.
After the first murder, after running down the mountain in a hurry, Enojin Yan washed the blood on his hands with his urine, because he was going to kill another fellow in the car. On the way back to the car, he picked a persimmon and took a bite. It was too astringent and could not be used as a souvenir. Hand letter)
Before the second murder that followed, Enotsu Yan took off his blood-stained coat and went to the nearby grocery store to buy a knife. Like daily needs, Enotsu Yan asked the price casually, and finally chose the cheaper one. This kind of cold bridge, Masahira Imamura surely handed him over. And the calmness at this time and the bloody fight in the next truck formed a rhythm and emotional contrast, full of drama.
The third "kill" was not Enojin's murderous atrocities, but the mother told Enojinyan that his father and Katsuko killed the dog together. His father buried the dog alive in the soil, only the head of the dog was exposed, and Katsuko used a bucket of freshly boiled heat. Water poured on the dog's head, and the dog screamed harshly. There is no dog in this scene, but the plot setting is extremely cruel. The perpetrators of this "killing" are father and Kazuko, two seemingly innocent hard-working men. But their cooperation
The mother is not innocent. In fact, she is the most important driving force for Enojin Yan to leave home. She answered the phone call from her son who had just come out of the criminal office and went to the billiard shop to find his son. She looked like a good mother, caring about her son’s current situation, with a smile on her face. She took the initiative to give her son pocket money, but her most important purpose was to suggest the adultery of her husband and daughter-in-law to her son.
In the yard, his father, Kazuko, and Enotsuyan quarreled, and finally Enotsuyan left home. And until the end of this scene, the director told the audience that her mother had been watching secretly, but she didn't step forward to stop her. Upon learning the result, her only action was to close the window. The sunlight and green leaves outside the window are isolated, and the mother in the picture is completely different from the one in the billiard shop, tired and haggard. After being in bed for 20 years, her heart was full of resentment and malice.
Before Enotsu Yan's third murder, it was a scene of bail fraud, which was very complete. Enotsu Yan has a higher IQ, pretending to be a professor and a lawyer. After the fraud was successful, he met the old lawyer for grabbing a taxi. On the train, he learned that the old lawyer was living alone, so he proposed to ask the lawyer to eat beef hot pot. After that, the story returns to Ah Chun’s point of view. From the client who could not wait for the prostitute and left in anger, he turned to the little prostitute to watch TV and found that the former client turned out to be the same.
Back to Enotsu Yan's point of view clues. Enotsu Yan held the bought carrots to buy beef, and contacted Enotsu Yan for the last game. The audience naturally thought that he was going to have hot pot with the old lawyer.
After buying beef, he went to the grocery store to buy hammers, broken nails and tape. The behavior of contacting Enotsu to buy a knife before killing the second person, the audience feels more nervous after the lawyer is known to be in danger after being caught up by Enotsu.
In the cutscene, Enotsu walked toward the apartment building with her purchased items in her arms. The filming of this scene is very daily. A murderer seems to be part of the person who is off work, and the danger is right by his side.
Enotsu Yan opened the door with the key, and he really sat down at the low table as if he was off work. The closet door behind him slowly opened, revealing the dead old lawyer. Only then did the audience know that all their worries were unnecessary and that the killing had already occurred. Tension becomes fear, and the dramatic tension is strengthened again. The previous two times were written killings explicitly, this time it was written secretly.
The weird closet kept opening the door of the cabinet by himself. After Enotsuyan sealed the cabinet with a seal, he tried to strangle himself, but he didn't actually have the courage to hang himself.
Kuno is Enozu Yan's alliance, and in fact is the most outstanding female image in this film. After the war, she was sentenced to fifteen years in prison for killing a woman who had been bullying her. After her release, she was keen on gambling, peeping at small hotel guests and prostitution, and constantly blackmailing Ah Chun. She knew she was a villain. But she also seemed to face her "evil" calmly, and "worked hard" to live. She perceives Enojin Yan’s cowardice because he dare not kill himself
On the way to Kazuno's home, Kuno even said that Enozu Yan had already wanted to kill her twice, and the third time, he would really kill her. The two rested by the fish pond. Enozu Yan saw the weird eels in the water and the tooling hanging from above. This scene also has a certain sense of surrealism, with the hanging pants and boots and the narration rope looping like a hanged person.
The fourth time was an unfinished killing. The man who took care of Achun continued to humiliate and abuse both Achun and Kuno physically and mentally. Hearing Achun's cry for help, Enotsu lowered his head severely, his eyes were covered with knives, but he did not pick it up for a long time. ; When it was unbearable, Enotsu Yan, who was about to do it, was interrupted by Kuno again. In the face of real hatred, Enotsu Yan was unable to resist, which plunged him into despair.
For the fifth time, he finally sent Ah Chun to a "distant place". When watching a movie, Ah Chun realized the true identity of the "professor". After walking out of the theater, her first sentence was "Let's commit suicide together". The killing of Achun happened after the scene of the most family-like atmosphere, Enotsu Yan returned to "home", "wife" Achun was making kimchi, and Achun kindly said that his hometown and old family love kimchi, etc. You can eat kimchi in four or five days.
At the most beautiful moment, Ah Chun asked Enojin Yan to drink a few sips of beer (her hands are full of hot sauce), and when she drank the second cup, looking at Ah Chun's neck, Enojin Yan strangled Ah Chun with both hands. She kissed the dead Ah Chun, saw that she was incontinent when she died, took off her clothes and wiped the urine from the ground, helped Ah Chun organize her clothes, and carried her body upstairs. Enotsu Yan was beautifying himself, he did not follow Achun to die, but called a pawn shop to sell Achun’s fines.
In the dark, Kuno seemed to realize that he had been destined soon, and went to pay homage to her husband. This is a cutscene, but the details of the action are also quite particular. Kuno took two flowers from someone else's consecration vase, and later put them in the consecration vase of her husband. It was raining and the atmosphere was full of meaning.
The sixth time it was written secretly. The most famous surreal stroke of the film. When Kuno arrived home, Enotsuyan coaxed her to go upstairs and followed by herself; the painting left from the deep corridor, and Enotsuyan's mother was still walking like a walking dead. Following the mother’s point of view, switch to another space. In Enotsu’s former home, father, Kazuko and Enotsu’s two daughters were eating at the same table. Kazuko picked up the fallen rice from his father’s lap, and they looked like a family. people
I very much admire Imamura’s not adopting the so-called critical attitude to describe the full-blown Enotsu, nor excessively beautifying him. He used the so-called childhood shadows or social problems to justify the anti-social behavior of the characters. He moderately wrote about social problems, such as traveling to Japan. Discrimination against foreigners (when the first murder case was discovered, the peasant women began to think they were drunk Koreans and dismissed them), the bullying of Christians and Catholics, the bullying of the people by the U.S. military after the defeat, etc. Sub-strengthening. Masahiro Imamura should believe that humans are evil. The so-called evils of society and times are just the soil for the continuation of human nature's evils to deformity. At the end, Kazuko said that Enotsu Yan's father was "cunning", and this is what she likes about him. This should also be the voice of Imamura. He analyzed and forgave all the misfortunes of people in the end...
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