text is a bit long. The front part focuses on the analysis of listening language, and there will be hidden details in the back. If you think it is too long, I suggest skipping the first half. Look, look carefully at the second half.
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The 98'17'' shot gives a great view of the snow-capped mountains and clouds, which is very beautiful, but the grass and trees on the mountain are withered and yellow, suggesting that the season may be autumn or winter, and at the same time, it sets the tone for the next scene.
Then the camera slowly pans down, and a house with a blue roof and white walls appears among the mountains. But we don't yet know where exactly this place is.
The camera cuts to the railway between the mountains again, and a train passes from left to right. The switching of the shots here is because the previous shot belongs to the horizontal composition, and the current shot is also horizontal. The blue roof in the visual center roughly coincides with the position of the conspicuous and bright red railway bridge in this shot. But we still don't know why it cuts from the house to the train, and it's doubtful for the time being.
The camera cuts to a terrace with many beds. Looking from the terrace to the distance, the upper right corner of the camera is the moving train, explaining the spatial position of the train and the terrace. There is a nurse in a white nurse uniform who is taking care of the people lying on the bed. It is speculated that they are all patients, and this may be a hospital.
Then the nurse took a lot of envelopes, walked to one of the beds, handed one of the letters to the person on the bed, and called her Miss Uma. Rima is Nahoko's surname, so we know that the person lying here is Nahoko. Based on the conversation between Nahoko and her father before, this should be the plateau sanatorium recommended by the doctor to treat tuberculosis.
Nahoko shrunk her head into her sleeping bag, took off her right glove, and couldn't wait to start opening the letter. The sequence of actions here is really natural and very logical. Some people may wonder why they don't read letters in a well-lit place, and why shrink into a quilt in a poorly-lit area? As a person who likes to read novels while lying in bed with a reader, let me tell you my experience, Nahoko must take off her dominant-hand gloves in order to facilitate opening and turning letters. Thick gloves are very inconvenient. It's very cold. In order not to freeze your hands, it is convenient to indent your whole body into the quilt. Master Gong observes meticulously! Friends from the south without heating at home can feel it next time╰(￣▽￣)╭At
this time, pay attention to the changes in the corners of Nasuizi’s mouth and eyes: when opening the letter, the corners of his mouth rise slightly; Hmm, is Nahoko-sama? o(￣▽￣)d Next, I see the words "cold", "sun" and "increase". Let's assume that the weather is getting colder. If you are concerned about adding clothes, please say hello. The fourth row of the letter is very conspicuous. The word "shishi" is used, which means that it is about work. It can be speculated that this letter was sent by his sweetheart and workaholic Demon Erlang. When he opened the letter and began to concentrate on it, his expression became very serious, and the corners of his mouth were slightly lowered. Bent, his eyes swept up and down quickly, and he read very quickly; but the speed of his eye movement began to slow down, the white circles in his eyes changed from one to two, his brows were slightly raised, and his face, which was close to the stationery, was slow. Slowly moving away; gradually, the halo in his eyes turned into three and flickered slightly, his brows were obviously raised, his mouth was slightly open, and he looked like he was about to cry. Notice that there are small white dots appearing in Nahoko's sleeping bag at this time.
Cut to the snowy sky, the composition of the current shot is similar to the previous shot. At this time, the tree in the foreground in the upper left corner corresponds to the yellow quilt in the upper left corner of the foreground of the previous shot, and the large cloud in the background in the lower right corner corresponds to the vegetable ear in the previous shot. It turned out that the small white dots that appeared in the quilt of Nasuizi were snowflakes. The trees that have lost their leaves are lined with some dark clouds and drifting snowflakes, rendering a bleak, cold and lonely mood. All Jingyu is a love language~ The picture is not completely static. The drifting snowflakes and flowing clouds create a sense of slow rhythm, which does not make people feel monotonous.
Cut back to Nai Suiko, she slowly exposed the top half of her face to the quilt, still frowning lightly and unable to resolve the sadness. Why does Nahoko feel so sad?
After cutting to the distant view, the camera is pushed out, and Nahoko is still in the center of vision. The girl on the next bed turned and curled up, which not only increased the dynamics and rhythm, but also showed that even if she was wrapped in a quilt, it was still cold. No one speaks here, there is a dead silence, all of them are terminally ill people, everyone is dead, and they have no energy or mood to talk, as if they have given up hope, the mountains are isolated from a hopeless and cold world.
Cut back to 98'29'', the same angle and the same scene, the sky is already dark, the snow is also falling heavily, and only the rear of the train is seen passing by, which also represents the end of the day, corresponding to the previous The head of the train during the day marks the start of the day.
The shot slowly fades out and dissolves into the next shot, making this transitional shot look like it was snowing all the time at night, and the mountains also accumulated heavy snow.
The current shot disappears completely, revealing the true face of the next shot: shooting up the snow in the morning light. It's already the next morning. Sunlight outlines the edge of the snow-capped mountain horizon, as if the snow-capped mountains block the sun. This shows that the sun is not rising high, and the time should still be early in the morning. It also shows that we are actually facing the East.
As a transition shot, it renders a calm and restrained sadness. At the same time, it emphasizes the location of Shenshan and the symbolic meaning of Shenshan for the love between Nahoko and Erlang. Mrs. Kurokawa said in her marriage ceremony speech that Nahoko "traversed the deep mountains alone to get here". This kind of narration sounds exaggerated and imagery, but it is indeed a "feat" by Nahoko; After the successful test flight of the plane, she seems to look at the distant mountains with emotion, which also implies the sad ending of Nahoko returning to the deep mountains and waiting for the end of her life alone.
The camera cuts to the nursing home building. According to the tree shadows on the ground and on the wall, we can judge that the main entrance of the sanatorium faces south, which is in line with the general rule of facing south for residential buildings. At the same time, the existence of tree shadow also expands a kind of off-painting space, there is a tree in the east of the sanatorium.
Cut to the front door of the building, Nahoko opened the door and walked out, and the camera shot from the left. At this time, the sound of the stringed instrument sounded, pay attention to the coordination of the bgm and the action of the characters.
Nahoko ran down the hillside, when the name of the sanatorium appeared on the front for the first time: Fujimi Highland Sanatorium.
At this time, the wind instrument sounded. After zooming in, the camera panned to the left, and then fixed the camera to capture the distant back of Nahoko. The previous shot included movement to the left, as well as downward movement due to the downhill. This shot is the left movement of the lens, and the depth movement of the character. The two lenses include up and down movement, left and right movement and vertical movement, which is very beautiful. Moreover, Nahoko exhaled white air from time to time while running, which also formed a certain rhythm. Originally, Nai Suizi was suffering from a lung disease, so she was supposed to be unable to run, which shows
her inner urgency. Why did she want to go down the mountain?
The engineers who took the blueprints overhead, used the chandeliers hanging from the ceiling as the foreground, and panned right to show a busy panorama. The movie temporarily cuts to another line: Erlang.
Cut to Erlang who is at work. His subordinates told him that someone called him. He refused to answer at first, and then the other party said that he was in a hurry. It can be seen that the actions of the engineer in the background activity in the upper right corner and the engineer flipping the drawings in the middle shot have increased the dynamics and formed a rhythm, enriching the amount of information in the otherwise monotonous still picture.
From this shot, we can know the following information:
1. The caller is an acquaintance who has not seen each other for a while;
2. He is surprised by some news, and when he subconsciously says "what?" Bowed to stand up straighter;
3.
Questions come:
1. Who is calling?
2. What did you tell him?
3. What did you promise to the other party?
With the glass window as the foreground, the cross-shaped wooden lattice adds interest to the picture and makes the picture less boring.
Cut to the overhead shot of the railway, here is a transitional shot, explaining the scene and environment. It is also divided into foreground, middle, background, and background, and it really cost a lot of money to make. The train in the shot also reminds us of the empty train in the previous two shots. So is there any connection between this?
Cut to the internal environment of the train. Passengers got up one after another to reach for the luggage on the overhead shelf. It seemed that they were preparing to get off the train. The train was about to enter the station. At this point, we can make out Nahoko's prominent purple hat and blue coat through the crowd in the foreground, and she seems to be the only one sitting still, making her stand out in the crowd. Now we know that Nahoko got on the train after coming out of the nursing home. So the camera cut from the Erlang line to the previous Nahoko line.
Answering why the train was cut behind the house in the sanatorium before is to establish a relationship between the train and Nahoko, which is a bit like a positive and negative fight, suggesting that Nahoko will have a connection with the train in future events.
Cut to the close-up view of Nahoko, she is alone, looking out of the window with a bit of melancholy. Passengers in the foreground add to the dynamics and also make the picture crowded.
You can clearly see the platform and platform number 2, as well as the staff holding the lights on the platform to salute the driver, the train is indeed about to enter the station. Here the train has depth and movement to the left, and the composition of the picture also highlights the sense of depth.
The train moved to the left and passed another pillar with the No. 2 number plate, which should be on the other side of the platform. There were also staff saluting the driver. At this time, pay attention to the clock in the background on the left side of the screen. I marked it with a red pen. It is five o'clock in the afternoon. Since it is winter, it gets dark early, and the sunset can be seen at five o'clock. It also explained that Nasuizi set off early in the morning and arrived at the destination at 5 o'clock in the afternoon, taking the train for nearly a day. White smoke (water vapor) and black smoke (smoke from incomplete combustion of coal) from the train enrich the picture.
Passengers got off the bus one after another, and the water vapor still hadn't dissipated.
The passengers in the car were almost gone, and Cai Suizi was the last to get off the car behind them. You can see that I used a red pen to mark the third-class compartment. The environment inside the car was actually not very good. The steam at that time The train is coal-fired, and the passengers in the back compartment are usually covered with coal ash, and the coal ash floats in the air. In addition to the crowded people, the air circulation is probably not good. For a person with lung disease like her, it should be It was very uncomfortable, and sitting from morning to night, healthy people felt uncomfortable, not to mention the sick Nahoko. So unlike the urgency in the morning, Nahoko walked off the train very slowly, probably a little weak. Nahoko walked to the right and was about to walk out of the camera when a passerby in the foreground covered her.
Stepping on this moment, the camera cuts to Erlang, who is crowded in the crowd. It feels like a cut in action, very smooth and natural. And it was Nahoko who joined the crowd, but it was Erlang who emerged from the crowd. It was really nice to show the two of them in the space of the platform at the same time in this way. At this time, the Nahoko line and the Erlang line converged here. Caisuizi came down the mountain to find Erlang, and Erlang came to pick up Caisuizi at the station. Erlang looked left and right and walked in the opposite direction of the crowd.
Cut to the distant view, Erlang finally squeezed out of the densest crowd. He avoided the oncoming person from left to right, his eyes were always on the distance, and suddenly he stopped, as if he saw something. We can be sure that he is here to pick up Naoko. Now we can answer the three questions raised in the scene where someone calls Erlang. First of all, I told Erlang what happened on the phone. It should be that Nahoko left the sanatorium and went to Nagoya to find Erlang. What Erlang promised was to pick up Nahoko at the station. As for the caller, she knew that Nasuizi went down the mountain except for her relatives in the sanatorium. Erlang didn't know the people in the sanatorium, so it was speculated that it should be her father-in-law.
The camera cuts in the direction of Erlang's line of sight. There are only the bustling strangers. After two seconds, the figure of Nasuizi in purple hat and blue clothes appears in the big vision, still drawn with red pen, only a rough outline can be seen. , The figure is too far away, but the white steam above Nahoko's head still makes her the center of vision. The ingenuity here will be explained in detail later. First, it will be marked as the train line, which is called the train line~
Reversely cut to Erlang's close-up view, he stepped forward and took two steps to make sure that he saw Nai Suiko. At this time, he heard Erlang's gasping sound of surprise, his face changed, and he quickly ran forward. BGM also became excited at this moment, the rhythm became faster, and the mood rose.
Motion cut, cut to the distant view, so that the transition of the scene is also very natural. Erlang pushed the crowd away and accelerated his pace towards Nasuizi. The passers-by and their luggage blocked Erlang from time to time, causing beats and making their meeting more difficult. The short distance seemed to cross thousands of mountains and rivers.
The camera cuts back to Nahoko. At this time, it was already a positive and negative fight. Nahoko opened her eyes wide, paused, and looked in the direction of Erlang in surprise. After realizing that she really saw Erlang, she immediately walked forward. Pay attention to the platform number 3 on the upper left of the screen, the platform number 2 on the right side that is occasionally obscured (circled with a red pen), and the relative spatial relationship between them and the protagonist.
I don't have any screenshots of the scene where Chega is playing two people running towards each other.
The two hugged each other, and Nahoko fell because she was too eager, and her emotions finally reached a peak. What is more interesting is that the aunt wearing purple clothes at the bottom of the screen and the uncle wearing a hat, blue coat and clogs on the left side of the screen are all watching the young couple showing their affection in public.
Erlang helped Nahoko up and comforted her softly. Nahoko stared at Erlang closely, as if he couldn't see enough, and kept his eyes on Erlang for a moment, then Erlang supported her and walked slowly. The rhythm has slowed down again.
"It's great! I'm still thinking about what to do if I can't find you." It means that Jiro is worried about what accidents will happen to Nahoko on the train from the sanatorium to Nagoya alone. Maybe she will be exhausted, maybe she will fall ill, maybe Single women will encounter road robberies, trains may be delayed, or even accidents, these accidents may cause Erlang to find Nahoko, which can be seen from his anxiously looking for Nahoko in the crowd.
"Don't be afraid, it's all right now." Nai Suiko called Erlang's name excitedly and aggrievedly when she rushed into Erlang's arms. Erlang immediately felt her emotions and felt distressed for her suffering for thousands of miles, coaxing her like a child. Seeing her "don't be afraid, it's all right, I'm right here, right by your side, you can rely on me", he could sense Nahoko's torment because of missing herself, and immediately gave the most effective comfort: you are I'm scared because I'm not by your side, now that we've found each other, there's no need to be scared anymore. One is that he really knows Nahoko well, and the other is that he feels the same way. Therefore, when Erlang asked, "Can I walk?" Nahoko replied, "Yes," she already had a smile on her lips and her voice became relaxed and pleasant. Erlang's comfort was indeed effective.
At the same time as Erlang and Nahoko walked out of the camera from the right side, the train in the background at 101'37" shook to the left. This is not only the function of adjusting the tempo, but also has a hidden magical effect, which is marked as the train line. You must know that it is very laborious to draw these pictures. A supervisor like the old man will not put such a waste lens in. It must be
intentional
. Cutting to the front of the train, the staff and the driver on the platform with the lantern looked back. They should be looking at the situation of the carriages behind the train in this direction. Then the staff on the platform left the front of the train, and the driver sounded the whistle to prepare for departure. Guess Looking back, it should be the inspection work before the train departs to see if everyone has boarded the train safely, and make sure that there is no situation where one foot has just stepped on the carriage and the other foot is still outside.
This shot seems to be useless Yes, in fact, the foreshadowing of the train that was just laid down here has already begun to emerge.
Comparing the same scene and the same angle when the train just entered the station, it is not difficult to find that the train has actually turned its head. The contrast between shots of the same scene and the same angle is often the message that the supervisor wants the audience to notice and he wants to emphasize.
The numbers of the two locomotives are also different, the number of the locomotive coming from the direction of Fujimi to Nagoya is 78693 , the number of the locomotive to depart later is 58651, and there is an abbreviation "name" of Nagoya next to the number, which means that the initial station is Nagoya. However, the carriage section of this car has not been changed, and it is still the one closest to platform 2. Driving on the rails. After consulting the information, I got the information about the steam train at that time: the steam train is different from the current high-speed train and cannot travel in both directions. Therefore, if the train needs to turn around, the carriage section will not be changed, and the previous locomotive will be separated from the carriage and drive into the concentrated area. Check it out, and let the other repaired locomotives pass through the switch and drive to the rail next to the carriage. After passing the section of the carriage, the turnout will enter the rail where the carriage is located, then back off, and finally connect the locomotive to the carriage. The schematic diagram is as follows ( The picture comes from the answer of Zhihu user Wang Zhaoyanghttps://www.zhihu.com/question/19668673/answer/71036479?group_id=712792711006011392#comment-134201084 ):
be precise, the above diagram shows how the same locomotive turns around and turns back.
Friends must have doubts, I understand what these can be used for, and I am not a steam train enthusiast.
Useful, only by understanding these, can we wrap up the train line:
First, there was a shot of Nahoko with a big perspective at 100'58''. The color of Nahoko's clothes made her even The figure is very small and can be recognized, and the white steam above her head, moving to the left while rushing up, helps her to be in the center of vision. If you look closely, you will find that it is the train coming to Nagoya from the direction of Fujimi. The locomotive, at that time, the locomotive of the locomotive was moving, but the carriage was still, which indicated that the locomotive had left the carriage section and was heading to the centralized point for maintenance. The train had already started the process of U-turn by then.
Second, the moment Erlang walked out of the camera with Na Suiko, the carriage vibrated to the left, because the new locomotive backed up and hit the carriage section, causing the carriage to move to the left. It is only when you arrive at this train departure shot of the same scene and the same angle that you finally understand that these details are not only useful in their respective shots, but also pave the way for the return of the train.
Now the question we have to solve is, why do we need to know this information about the return of the train? Does it have any effect on portraying the characters and promoting the plot? Let's look down first.
The camera cuts to a close-up shot of Erlang hugging Nahoko forward, and Nahoko leaning on Erlang. The background is defocused, indicating that what the supervisor wants to emphasize is the demeanor of the two people. But it can be seen generally that they have left the platform, and they should be about to leave the train station. Now watch their expressions carefully.
The upper half of Erlang's face is completely covered by his eyes and the brim of his hat. You can't read his emotions at all, but this is very different from his usual calm and calm demeanor. It can be understood that his heart is very unstable at this time. . why?
At this time, Nahoko raised her brows and the corners of her mouth turned down, indicating that she was a little worried. Without the excitement and joy when we saw them reunite just now, I felt that something was wrong with the two of them. Seemingly disconnected between emotions may suggest that something happened that we don't know about at the moment, causing the mood change. Using the plot to extend an off-screen plot, the key to unlocking this hidden story lies in the branch line of the train turning around and returning.
Nahoko said first, "I plan to go back immediately after seeing you." Contacting the information that the train we just analyzed has returned, it is not difficult to infer that Nahoko planned to get on board immediately after seeing Erlang. The train that had just turned around and returned to the sanatorium, but the plan was finally put on hold, which made her feel anxious, and this sentence also meant to let Erlang let go. This shows that Erlang must have seen something before Nahoko said he was going to leave. For example, Nahoko walked out of the nursing home empty-handed and sat alone on the seat before getting off the car. There was no luggage to remove from the luggage rack. This shows that Nahoko did not She doesn't plan to stay overnight. She has one night to prepare. If she plans to stay, she will at least bring some clothes. Erlang must have deduced from it that Nahoko did not intend to stay for a long time, so he used some method to subtly prevent Nahoko from getting on the bus, and Nahoko probably thought that it was a coincidence that he missed it, not the result of Erlang's intentional prevention, because later When Erlang spoke to keep her, she was shocked.
Why did Erlang deliberately stop it? One is that before Nahoko opened his mouth to say that he would not stay, he had already shown an uneasy mood, and the other was that Erlang's movement of hugging Nahoko and walking forward also implied that he was guiding the direction of the two of them. To sum up, the incident that caused the emotional changes of the two was precisely the fact that Nahoko wanted to return but failed.
Erlang's heart was full of contradictions and struggles before Nahoko said his plan, but after Nahoko said his plan to leave, he immediately made an action of hugging Nahoko, which was subconsciously unwilling to her departure sign. If according to Nahoko's plan, the time the two of them spend together is only a moment, then the joy of his reunion will become an inseparable pain. Here, Mr. Gong used the blank expression of his expression, not to show it directly, but to have a kind of forbearance in it, a hidden power of calm and stormy waves on the surface, and it was also in line with Erlang's character.
What Nahoko said, "I plan to go back immediately after seeing you" is a decision made after receiving Erlang's letter. Now let's explain why she was first happy and then sad when she saw Erlang's letter. The reason for the joy is very simple. The girls will be happy when they receive the letter from their sweetheart, but after reading Erlang's letter, her longing for Erlang floods into her heart out of control, but she can't see him or touch him. He, it made her very miserable. So finally, after she couldn't hold back her thoughts, even if she had to ride the train for so long and cause a burden on her body, she couldn't control it so much, even if she saw each other once.
If you hadn't seen the information about the return of the train, you would have no way of understanding why the mood of the two turned cloudy after a while. Nahoko's feelings for Erlang are very obvious, but on the other hand, Erlang seems a little elusive. We all know that he likes Nahoko, but how deep is it? If you can't read this message, you can't understand that they have had a confrontation outside the screen. Erlang's letting Nahoko stay was not on impulse. In fact, he kept Nahoko twice. When Nahoko showed signs of going back, his heart was already struggling fiercely. When he tried to keep her for the first time, maybe he was still uncertain and couldn't say it clearly. The hat that covered his face also covered his eyes. He was hesitant, but the second time he clearly asked Nahoko to stay, his tone was very firm, indicating that a choice had been made. If you can't see that the first time trying to keep that delicate state existed, you won't understand that Erlang has struggled painfully. It will make people feel that he is very selfish, completely ignoring Nahoko's health, and then questioning his attitude towards Nahoko. ear of love. But in fact, although Erlang intellectually knew that perhaps sending Nahoko back to the sanatorium was the best choice for the two of them, he had thought about it over and over again, but the sensibility of wanting to keep his lover by his side overwhelmed his rationality. For Erlang, a sensible and self-sufficient person, this is enough to show that he loves Nahoko deeply.
My understanding of Mr. Gong's handling of it is that the atmosphere of the state that was retained for the first time before is very subtle. Rather than drawing it hard, it is better to leave it blank and leave enough hints and clues for the audience to make up their own imaginations. Furthermore, I guess he may have deliberately created the image of Erlang's selfishness and ruthlessness. Through his sister, he said Erlang was ruthless twice, and even his boss said that he was selfish and misled the audience. In fact, those who understand Erlang will understand the gentle side of his lover under his cold-blooded appearance. And this confidant in the play is not Benzhuang, his like-minded friend for many years, not his younger sister whose blood is thicker than water, not his boss who loves him, he has always been Cai Suiko, and only Cai Suiko. For Erlang, this relationship only needs to be known by heaven and earth, and whether others understand it or not, it doesn't matter at all. This subtle feeling cannot be expressed in words. Let everyone experience it for themselves. The old man's profound skills in character shaping can be said to be deep in still waters, and his thoughts are meticulous and fearful. But at the same time, because the burial is too deep, contemporary audiences who do not have relevant life experience or do not carefully observe and consult materials cannot understand it. After all, not everyone understands steam trains and other items of that era.
From this point of view, their love and longing for each other can be said to be mirror images of each other: the two are tormented by lovesickness, but the way of expressing them is to show each other, revealing and concealing, when they look at each other , but it is like looking in a mirror, seeing his love for the other person from the other person. No one said lovesickness, but lovesickness is everywhere.
The design and use of this branch line on the return journey of the train is really ingenious and interlocking. Not to mention the grass snake gray line, which is buried thousands of miles away, it is also full of opportunities and details. It is no coincidence that Mr. Gong is called a world-class master, he has this strength.
When Erlang asked "Don't go, please", Nahoko's hat covered the left half of Erlang's face, Erlang's hidden face (or expression) was more, or his inner pain was more More, because of the fear of being rejected by Nahoko, afraid of Nahoko leaving, and afraid of hearing Nahoko speak out about her plan to leave. I believe that if Nahoko rejected him, he would definitely not force her to stay, and he would definitely endure the pain in his heart and send her back.
In the process of the two walking, they moved to cut, and cut to the close-up of Nahoko. At the same time, the profile of Erlang's lower face (still hiding his expression from the audience) and his coat and hat became the foreground. It took 3 seconds for Nahoko to realize what Erlang had said. She took a deep breath and raised her head to look at Erlang in surprise, which showed that she was too shocked. According to her understanding, I thought Erlang would let her go back in order not to delay his work and also for Nahoko's health.
Then Nahoko smiled and listened to Erlang saying to herself, "Stay and live with me". Judging from Nahoko's happy expression from the bottom of her heart, this was also Nahoko's wish. She hopes that she is needed by her lover, and that her existence is meaningful to Erlang. The more she needs Erlang in her heart, the more she hopes Erlang needs her. Therefore, when Erlang's request expresses the meaning of "he needs her", Nahoko smiles so happily.
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