From "The Oil of the Toad":
I also wrote the script for the next film with Zhicao.
At that time we were staying at the hotel in Atami, and looking out the window, we could see the inland sea, where there was a sunken cargo ship.
It was a boat made of reinforced concrete. At the end of the war, Japan's steel was insufficient, and in desperation, this kind of ship was built.
The children had fun as they stood on the reinforced concrete prow sticking out of the sea and jumped into the shimmering sea of the lingering heat. I think the inland sea with reinforced concrete shipwrecks seems like a perfect satire for the defeat of Japan.
In the process of writing the script, in the melancholy scene of the inland sea that we can see every day, the scene of the stinking pool of "The Drunken Angel" is brewing.
The idea for the film "Drunken Muddy Angel" was born like this: When Mr. Yamamoto made the film "New Bastard Age", which depicts post-war Japanese society, he built a huge open-air set showing the street of the black market. Tell me if you can use it to make another film.
Mr. Yamamoto's "New Bastard Age" describes the world of rogues whose roots are the black market that emerged one after another after the war. I want to further dissect the objective world in which rogues exist, and to find out what kind of people they are, and what is the "benevolence and righteousness" that supports their organization, the spiritual world of each of them, and the violence they claim to be.
I settled on the central content of the film: the black market is used as the stage, and the gangsters who gang up on separate territories are the protagonists. At the same time, figures are envisaged in contrast to these rascals.
At the beginning, I decided to have a young doctor who lives here and who has a strong humanitarian mindset. However, despite all the efforts I made with Zhicao, this idealistic person can also be said to be a formalized rational person, but he cannot become a living person.
There is a prototype for the rogue who controls the power turf, and Zhicao has contacts with him. Because of that rogue way of life, Zhicao fell in love with Zhicao. Later, Zhicao even had a conflict with me about it. In short, this rogue image is so vivid, it is almost ready to come out.
Secondly, there is a stinky pool at the corner of the street that symbolizes the disease of the street, and it is like a garbage dump. These gradually become images in my mind, but the other protagonist of the film, the doctor in a small hospital, is always like a plastic costume model and cannot become a real person.
Zhicao and I were almost surrounded by torn and crumpled manuscript papers. Time and time again, we were always dissatisfied. We had to cry and look at each other, unable to do anything.
At that time, I felt that there was nothing I could do, and even wanted to give up this book. But on second thought, any script will inevitably encounter a time or two when it thinks it can't work, so it has to continue to write. I know from my own experience of writing many plays, that as long as you are like Bodhidharma facing the wall, sooner or later you will reach the state of enlightenment. Now, I use this to encourage myself, wait patiently, and stare every day at this mannequin-like image of a doctor who has never been alive. Five days later, Zhicao and I remembered a doctor's story almost at the same time.
This doctor was a drunk man we met in a slum street in Yokohama while we were observing various black markets around the world before we started writing the script.
This man is a doctor who only treats prostitutes, but he is not licensed to practice medicine. His rough, bold, and unassuming style is very pleasing. We invited him to drink and went to four places in a row to listen to him talk while drinking.
This unlicensed doctor seems to specialize in gynecology. His words are sometimes unbearably rude, but the cynicism about life that he often blurts out is piercing and piercing. He often laughed with his mouth open, and in his wild laughter, there was a bitter taste like blood and blood. This person probably belongs to the last hero who looks at life with a cold eye and has a turbulent fate. When Zhicao and I thought of him, the same thought flashed out at the same time.
it's him!
Thinking about it like this, it feels strange that he has never thought of it.
The image of the mannequin-like humanitarian doctor that had been envisaged immediately vanished.
Our mistake is that in order to criticize the rogue, we have designed the doctor who is the opposite of the rogue to be too idealistic.
In this way, "The Drunken Angel" appeared.
This sudden appearance of a living person is an alcoholic doctor who is over fifty years old. He does not seek knowledge and is rooted in the public. Although he has no medical license, his medical skills are very good. Although his personality is eccentric, he is straightforward and straightforward. Very popular. He was slovenly, always unshaven and disheveled. The alcoholic doctor spoke as if no one else was there, outspoken, consistent and kind-hearted.
Putting a doctor of this character in a hospital on the other side of the black market, across the street from a stinky pond like a garbage dump, would be a good contrast to the rogue who runs the black market. To start the drama of these two people, it only needs to wait for the two characters to come into contact.
Planting grass and I took the contact between the two as the opening scene.
The rogue was wounded because he fought for territory with another rogue, so he asked this doctor to take out bullets from the wound for him.
The rogue had tuberculosis and had a cavity in his lungs, and the doctor discovered this fact at this time. Tuberculosis brought the two together. Since then, the two have very different attitudes towards tuberculosis, and the story unfolds around this.
The script was written in one go. While writing, I couldn't take it easy and take care of all the grass.
I'm not sure whether Zhicao is particularly attracted to the protagonist in his interactions with the protagonist, or whether he is naturally inclined towards the weak, the damaged, and those who live in the dark corners of society. He often expressed dissatisfaction with my attitude of denying rascals.
As for his reasons, in a nutshell, the scoundrel's lack of human touch or distortion of human nature is not entirely their fault.
The truth may be so.
However, even if such people appear to be half or most of the responsibility on society, I don't think their actions are right. The reason is that in this evil society, there are also honest and kind people.
I can't forgive anyone who makes a career of threatening others and ruining their lives. Also, I don't think denying these people is out of the egoism of the strong.
The idea that criminals are created because of society's flaws, even if it is half-truthful, to justify criminals on that basis is nothing but sophistry, because it ignores people who live in flawed societies but do not go to crime .
Zhicao often compares himself with me, saying that we are fundamentally different people. However, in my opinion, there is no essential difference between planting grass and me, only the surface difference.
Zhicao said that I was born strong, said that I was a person who had no connection with regret, despair, humiliation, etc., and said that he was born weak, living in the river of tears, grief, moaning, and pain all the time. However, such observations are superficial.
In order to resist people's troubles, I put on a mask of the strong; but Zhicao put on a mask of the weak in order to indulge in people's troubles. That's not the case. But this is only a superficial difference, we are all weak in nature.
The reason why I write about the conflict between planting grass and my personal views here is not to refute planting grass, nor to defend myself, but I just hope to take this opportunity to let everyone better understand my original appearance.
I am not a special person.
I am neither a particularly strong person, nor a uniquely gifted person with special talents. I am just a person who is unwilling to show weakness to others and lose to others, so I work tirelessly.
That's all.
After the completion of this "Drunken Mud Angel", Zhicao broke up with me and disappeared again. The reason is not, as Zhicao said, the rift caused by his and I's fundamentally different personalities.
Zhicao said this with intentional ambiguity. In fact, he has an innate wanderlust, and he never tires of it.
One of the proofs is that he took a photo with me for the illustration of the column of "The Gathering of Old Friends" in the magazine "Wenyi Chunqiu", and his expression was very happy.
Secondly, when I wrote this autobiography, Zhi Cao chatted with me for my reference. He was very happy then, and we talked all night. In the future, when we visited, we talked very vigorously, and even forgot the time and had to live in my house.
In short, Zhicao and I are very close friends and friends who often quarrel.
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