So Saburo, who was published before the original work, is a story in the new writing group Blood Wind Lu by Sima Ryotaro. If the entire Blood Wind Record is about some anecdotes about the new writing group, Yu Fadu's original work should be the most bizarre one, full of death.
The demagogic Sozaburo of Ghana and the ruthless and ruthless law in the game are essentially the same——
Just as the law in the game is not a law of survival but a guide to death, So Saburo Ghana is like the materialization of everyone's desire, and this desire will only lead to death for those caught in it.
The film, like the novel, is narrated from Hijikata Toshizo's perspective, and most of the time seems like the observation and analysis of someone outside. It wasn't until the last moment when Tufang slashed at the illusory and real cherry tree, and the audience was startled together with him: it turned out that he had unknowingly sunk deep into this misty and treacherous desire, and then fell into it. Longer confusion, how inexplicable the so-called death worship, like the mysterious Ghana, can only be attributed to "monster".
The character of Sozaburo Ghana is a narrative object throughout, somewhat like Lolita or Rebecca in Butterfly Dreams. We can only spy on the person's true heart from the narrator's remarks. So here is a mix of hearsay, unsubstantiated rumors, gossip, and speculation. But even so, you can vaguely see the bloodthirsty desire hidden under his beautiful appearance, and there is an unfathomable darkness in his heart - he may have killed people early in the morning, but why? The audience is as ignorant as the earthworkers.
Maybe it came from his past - such as the misfortune of being too good-looking, so he learned prematurely about the wrong way to use beauty.
Maybe it's just because he's inherently cruel - Garner didn't say a word when Tashiro asked him why he joined the Shinsengumi, he just pursed his lips and chuckled - maybe he just wanted to kill legally.
Hijikata can't see through Ghana Sozaburo, and the audience can explore the inner world of Ghana.
The atmosphere of the whole film is erratic and turbulent, but the themes are always looming. The rhythm feels like poetry and fugue. The ambiguity of the narrative and the point-to-point finish perfectly complement the eerie beauty of death. The final execution in the night fog may be said to be the most perfect image of love and death in Nagisa Oshima's heart.
The only thing I feel bad about is the casting, because the Shinsengumi itself is a youthful organization, and Kitano Takeshi's Hijikata did a good job, but the image was so dramatic that he looked at Ryu Matsuda, who was so tender that he could squeeze water. Usually there is a sense of wretchedness that old people are greedy for youth, which makes it hard to sigh and regret the withering of youth.
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