"Twilight Qingbingwei" is a film recommended by a friend, and she gave an evaluation of the word "exquisite". At first glance, this film is not exquisite at all: the costumes in the play, whether it is the protagonist or the supporting characters, are not as golden as "golden armor"; the furnishings in the house range from low-level samurai who can't make ends meet to those who dominate one side. The feudal lord, his home is just plain and simple, and there is no splendor at all; there is also the ultimate version of the master tricks, thinking that there will always be an exclusive secret recipe such as the Great Movement of Heaven and Earth, and the worst will fly over the eaves and walls, but only see them One move, one pattern, the context is clear. After some aftertaste, there is indeed "exquisiteness" in it.
This film tells the story of Qinghei, a junior samurai in the background of the last shogunate in the Japanese samurai era, the Tokugawa shogunate. This film not only tells the story of a samurai, but also the story of an era.
This is an era of replacement of old and new. Political instability and overlapping regimes. The guns and guns of the West replaced the swords on the waists of the samurai, the samurai class gradually disappeared, and the common people gradually abandoned the old ideas. The film uses a lot of shots to express this era: corpses floating in the river, soldiers who contact and shoot, women who are allowed to divorce, conservative and stubborn warriors, the pictures are not gorgeous, but they convey the true texture to the audience: the society at that time was It should be like this, ah, this kind of thing happened in the society at that time. Before we knew it, we walked into the screen and could stand on the side of the road as a roadside A, B, B, D, and watch all the little things that happened at Qingbingwei's house.
Qingbingwei is a typical oriental man, he is calm and reserved, cautious in words and deeds; he is also a good man, considerate of his wife and daughter, honor his elders, and perform his duties faithfully. The story of Kiyobei begins with his wife's funeral, but what should have been a sad mood was diluted by a peaceful and soothing narration, followed by the ridicule of colleagues, and the dissatisfaction they seemed to be reflected in the colleagues' mouths, plus it was like dusk. The dim color made the tone that had been softened heavy again; then, as Qingbingwei returned home and opened the door with his daughter in his arms, the previous gloom was swept away, and the warmth of home burst out, as if The burning fire warmed the tone of the movie and warmed the hearts of the audience. These seemingly ordinary descriptions, up and down, fluctuated, and mobilized the emotions of the audience outside the screen with four or two strokes of force, which is far more ingenious than those single pale films.
The appearance of Miss Pengjiang is tantamount to the sunset at dusk, the warm sun in winter, which is in sharp contrast to Qingbingwei's humble identity and involuntary life. The joy that came with her, the compelled refusal, the separation of life and death, the joys and sorrows of the impermanence of the world, after experiencing these, a perfect "together" has become a popular one, without the illusory and deliberate in fairy tales.
The film still returns to reality in the end. It does not end with "eternal happiness living together", but ends such a story in a way with the characteristics of the times. This ending makes me even more convinced that in that real era, there was a Having lived such a person, although short, but a real and happy life.
Throughout the film, there is a narration by a female voice that makes people feel calm, but the plot is about to be released, but it is still to be said. Flowing through, flowing out of the screen, flowing into the hearts of the audience, quietly engraving four words, not "visit here", but "Oriental classics".
View more about The Twilight Samurai reviews
