It's a lovely movie, from the plot to the actors to the shots and even the cuts, about an absurd love triangle. The ending is very warm, Flower and Alice got rid of their love and continued their world. They have experienced the bitterness and joy that must be passed on the way of growing up, as well as the test of friendship and love. In the end, they were frolicking on the way to school. Like a butterfly, it broke free from the shackles of its cocoon and flew to the wider sky.
Some people say that this is a gay movie, I have no objection, but using this as a gimmick for the movie is too low-level and tarnishes the movie. Iwai's movie never needs this kind of propaganda, which is why I don't support this statement. reason. Japanese movies are inherently ambiguous, and many emotions are depicted too delicately, and Japan’s social culture is indeed reflected in the movies. From a certain perspective, this may also be a romantic plot in Japan, with a slightly emotional tendency, so Iwai’s works are only in the On this basis, he uses his unique gentle approach to show everything, focusing on the beauty of human nature. He is an aesthetician and artist. His lens is clean, transparent, and hazy, and his mastery of slow motion and still images, as well as the choice of music The themes of the works are all well matched.
Most of the themes of Iwai's works revolve around the bitterness and sweetness of youth, which is similar to Taiwanese director Yi Zhiyan, and the style of the film is also very similar, but Iwai is more artistically inclined, with a stronger aesthetic component, and the lens is more hazy; while Yi pays more attention The sequence of the plot is more lively, and the shots are clearer. Yiduo expresses the inner activities of the characters through simple language, while Iwai is good at expressing psychology with actions and expressions, some simple and gentle actions, and shy and reserved expressions. This kind of tenderness and shyness is transformed into a classic Iwai-style innocence in the movie.
Iwai's films are always full of ethereal hallucinations. He likes to use white, full of dizzy sunlight. Even without dubbing, a single picture is enough to make people intoxicated. The use of this technique makes his shots look clean and elegant. A taste of nostalgia, each picture is a delicate and natural beauty, a beauty of memory. The library in "Love Letter" has large windows, and the sun shines warmly through the white curtains, so Kashiwahara Takashi, who stands behind the curtains and looks down, has become a classic of pure love; Musashino in "April Story" The bookstore is a bit similar to Xiaofeng's style. The difference is that Musashino has large windows, and sunlight can freely fall in. The rows of books also shine on Matsu Takako's elegant face. Her shadow naturally falls. Reflected on the bookcases in the back row, light and shadow merged in a small space full of books, a pleasant picture; "All About Lily Zhou", Yuichi dragged his shadow on the country road, the sun was still so bright, But there is a dim halo, like a dazed Yuichi, dimly continuing life; "Flower and Alice", Alice's last ballet, in a white room with a glass roof, when she begins to dance, behind her. The halo also began to spread infinitely, the whole room was like a white paradise, Alice stretched her limbs gracefully, her straight hair fluttered naturally, the sunlight was no longer golden, it was a classic white, bright and bright. Not dazzling, full of confidence like Alice, you will feel that the beauty of the girl is so fascinating, and then you will feel the greatness of youth, just like Iwai hopes.
The scenes in Iwai's films are filled with the aroma of memory, as if dreams and memories were brought to the screen. Many of the pictures are more like they only exist in novels, the kind of beauty that can only be understood and inexpressible, and only Iwai can magically turn it into a classic on the screen. The beach full of playing cards, the strange man in black in the heavy rain, Alice's long hair, the neat and bright flowers visiting the flower's door, Alice saying "Dad I love you" in Chinese, and her messy mess that never cleans. Nest, a girl who is as beautiful as a flower in the ballet club under fluorescent lights, a seaweed pudding who exposes lies, Alice's clothes have the style of a lady's house, I like her little flower cotton shirt, and the flower shoes should be Converse canvas shoes, Yazai likes to be rigid While reciting "Life is unlimited, life is unlimited...", there is an American student in his family who likes to wear pink shirts. That is Alice's idol. When Alice lowered her head, a few strands of hair slowly fell out. She has never been stroked. The director also intends to frame her like this. Alice's hair is long and straight, and her casual beauty suits her very well, while Hua's perseverance and deliberation towards feelings show a bit of childishness and cuteness. Like her baby face.
Watching Iwai's films will make you fall in love with Japanese culture. The dialogues and small details in the film are so delicate and gentle, soft, crisp, heart-warming language, and a culture of etiquette worth savoring. Hua Xueyazhi recited the screeching "Shou Xian Wu", every word was crisp and cute, making people want to read it along, this may be the most beautiful soundtrack. The various small etiquettes that often appear in Japanese movies have become an important part of the film in Iwai, because he advocates the beauty of human nature, so these traditional etiquettes are regarded by him as respect between people and cannot be ignored.
Watching his movies will still be obsessed with being alone, Alice in the rain wearing a weird black raincoat and doing weird moves on a deserted road, alone, she tells the flower that she is decompressing, and when Yuichi stands alone in the vast In the wheat field, he listened to the CD in his hand expressionlessly, with his head down, a very quiet picture, a very comfortable feeling, although he was alone, he was not alone, because he had space for Lily Zhou's music and blockbuster films.
There are many, many lovely discoveries in watching Iwai's movies, touching Iwai's usual tenderness, like a kind of spiritual purification, a kind of silent care, he soothes every young turbulent heart and suppresses every emotion. Uncontrollable impulses, and finally, will sing your most familiar songs to lull you to sleep and say "good night" to you. I don't know how many people will watch such literary films now, especially films with a little sense of humor like "Flower and Alice", I always feel that they are more suitable for niche films, and "Love Letter" has become Iwai's representative work , is familiar to many people, and even the representative work of Japanese movies, but I still think that it is still a niche movie, a famous niche movie. His movie is suitable for one afternoon after a long time after watching it, when you are sorting out the drawer, you occasionally turn it out, so you stop what you are doing and sit down quietly and taste the wonderful second time. This kind of feeling is Like in the movies, live in romance. Maybe after this afternoon, you will find that it may be more romantic to close the curtains and let the sun shine into the room. After all, life is supposed to be gentle.
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