2 It is said that Chinese people are no strangers to "Zi Sanshilang". The first foreign TV drama introduced to the mainland in 1981 was called "Zi Sanshilang". Sanshiro like this. But now, it seems that there are not many people who can say the occupation of Shisanshiro.
3 When Akira Kurosawa filmed "Zi Sanshiro", it was in 1943 when Japan was on the verge of defeat. Little Japan deserved it, but Akira Kurosawa refused to complain in the movie. He was always sympathetic and almost committed suicide. Movies are soothing. Thinking about our anti-Japanese war movies, is it a bit too straightforward?
Although the process of "evolving" Sanshiro from stunned blue to a judo master was a bit "jumpy", it just showed Kurosawa Akira's love for "enlightenment". The night he jumped into the lotus pond, Sanshiro watched the dew emerge and the lotus bloom. If you are hit in the head, your mind will be clear. Now people will be puzzled, this is too child's play. So let me ask you a question, have you ever seen the first morning dew?
5 An abandoned clog, in Kurosawa Akira's lens, withstood the wind and rain, was hung on the fence, and was washed away by running water. Time passed in this exiled clog, and Sanshiro also grew into a master at the monastery. Akira Kurosawa's master temperament started from this scene. Judo with bare feet defeated Jujitsu with shoes.
The meeting between 6 poses Sanshiro and Xiaoye, the love that emerges from three or four scenes is worth a thousand words. The camera was first fixed on Sanshiro's umbrella, and after he helped Xiaoye tie his shoes, he forgot it. This is the bridge in the bridge, the preset ending becomes the ending, and this is called the consummation of love.
7 The roughness of the images and the jerky movements of the images of "Tsurugi Sanshiro" make people uncomfortable, but the essence left behind is thrilling, such as the scheduling of the scenes when Sanshiro and Murai were fighting. The frozen slanted crowd, with the help of the tension burst from the montage, reveals the secrets of Japanese noh dramas, and also defines the classics of film techniques. Which director dares to say beyond his right today?
The decisive battle between Sanshiro 8 and Higaki now seems to be a poem of images. I can't find a better analogy than this sour word. The wind slanted across the hillside, the grass undulating in the wind, the two warriors faced off between heaven and earth, and the outcome was already determined. Needless to say, my vulgar language is almost turned into poetry.
9 "Zi Sanshiro" is not a touching story, but it is touching, it is not purely inspirational but exciting, it is not the director's heavy philosophical thinking but it is thought-provoking, it is Kurosawa Akira's first. In this work, the accumulation has erupted, and the agile has not yet become a program.
10 There are quite a few directors who say they love Akira Kurosawa the most, such as Zhang Yimou and Du Qifeng, who are known to everyone. Zhang Yimou prefers the gloom and form of his later period, so he has "Hero" and "Golden Armor", but gloom is always used to express, not to express; the form is always natural, not copied craftsmanship. So it seems that Zhang Yimou is going further and further.
11 Du Qifeng prefers Kurosawa Ming's early smart and Xiao Su, so with "Gun Fire" and "PTU", they do not have the shape of Kurosawa Akira, but have his god. Until the "Judo Dragon and Tiger List" was filmed in 2004, Du Qifeng achieved both form and spirit. Maybe many people don't recognize it, then I guess you, like me, are also watching the castrated mainland version.
12 "Toad's Oil" is the autobiography of Akira Kurosawa's director's career before 1/3, up to "Rashomon". Since then, Akira Kurosawa's life legend is comparable to movies, one after another "blockbuster", worldwide reputation, break with Mifune, attempted suicide, why hasn't the director come to shoot? But stay tuned for his earlier films, because it's far purer than we thought.
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