But the fact is not what I thought, but as people move and the angle of view turns in, the camera suddenly turns down, suddenly showing the dark, messy and gloomy side of the house. This sharp contrast of the gray and white inside and outside makes people fall into a kind of contradictory tension-the beauty of the intact and inhuman nature and the difficult and ugly living condition of people in this environment.
In the film, on the one hand, the director uses human sins to eliminate our compassion for people (such as the village abandoned babies, selling girls and many other ugly customs in the film), on the other hand, he also tries to equate people with animals (that is, as nature itself). Part of) to perform, such as interspersed with scenes of many animals meeting and scenes of animals eating each other's meat. The woman in the film is also simplified into an organ in the lower body, and relying on this organ as a tool for making a living. A Song's face was mutilated and A Jinpo was aging, but she was still able to rely on her lower body to maintain a woman's rights and dignity.
One of the scenes was very interesting. Asong was full of smoke because he could not cook a pot, so Azhen, Ayu and Asong ran out of the house one after another. Ayu laughed at Asong and said that you were very capable in that respect. This was a mockery of Asong's incompetence in other areas, but the strange thing was that before this meaning was revealed, the three suddenly laughed together. This may be understood as a consistent tacit understanding of the decisiveness and importance of sex as women. The display of animality makes the ethics in the film ambiguous from beginning to end.
Mother A Zhen is a model of village customs, with brutal cruelty in her reason. For the survival of the family, Asong and the child in her belly are tricked to death. Although her husband Liping loves her and she also likes Liping very much, she still despises Liping, who cannot carry her mother to sacrifice to Narayama. "I have already planned to go to Narayama this year." She repeated the request of Narayama again and again, not only spurring her son, but also encouraging herself. For her, Shang Ningshan is not death, but a festival, a ceremony that cannot wait to be completed, a feat to wash away the sins committed by her husband and reintegrate into the history of the ethnic group. So her tough body made her very distressed, 33 intact teeth became her secret shame, and caused her physical ethics dilemma.
Finally, after knocking down her teeth on the edge of the millstone, she showed it to others with blood stains, that her toothless mouth became a medal of pride. This strange sense of honor reached its peak when she pushed her son away and sat on Narayama.
As Liping's son, Tatsuhiro was dissatisfied with his father's escape from carrying his mother to Narayama, and shot and killed his father during a dispute during a bear hunt. This makes Chenping different from A Zhen in the Liping incident, that is, he turned from humiliation to sin. As the date of his mother, Azhen's arrival at Narayama approached, Tatsupei also faced the location and situation of his father that year. So when people say that he is more and more like Liping, he is both angry and painful. But his feelings towards his mother made him begin to identify with his father, but once he identified with his father, he undoubtedly overthrew himself, declared and deepened his sins. To get rid of this guilt, he must seek the legitimacy for killing his father, that is, strictly abide by the so-called village customs. This is the ethical dilemma he faces.
In the end, he had to shoot another shot at the tree where his father was buried. This shot seemed to be at the undead of his father, but it was actually at the vacillating self. He tried to confirm his innocence through this double negation, so as to wash away his guilt. Therefore, mustering up the courage to carry his mother Azhen to Narayama was also a grand ceremony for him to confirm the legality of killing his father. On the top of Narayama, he hugged his mother and wept bitterly. This tearful carnival is actually a mixture of the pleasure of redemption and the guilt of affection. So when he saw it snowing, he accepted it as a sign of victory for granted, shed his guilt, and obtained a complete relief.
At the age of 70, being sent to Narayama for sacrifice is the most fundamental story and contradiction focus of the film. Among the six rules mentioned in the Shang Nara Mountain ceremony, except for the three related to the route, the remaining three are:
1.
Do n’t talk on the mountain 2. Don’t be seen by anyone when you leave home 3. Do
n’t look back when you return from the mountain.
From these three articles, it is not difficult to see that they all serve one moral point: that is, to reduce and cover the guilt of the parties betraying family affection for survival. The belief in Narayama God is a highly concentrated group consciousness. It is built on the basis that everyone is like this (evil or evil intentions are universal). The practice of evil cannot be undertaken on the individual, so it is necessary to form such an evil alliance, and even to reverse the evil moral shortcomings through group dispersion. This is clearly manifested in the murder of the whole family in the rain house by the villagers. Because it is in the unanimous interests of the whole village to kill them, they can be elevated to the will of God to implement them.
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