What's your comment on the movie version of Face of Heaven? Compared with the drama version?

As the sequel of Japanese drama with the same name, the Japanese film Tian Yan is more about the pursuit of old-fashioned stories and the compromise of moral admonition, which fails to continue the reputation of the drama version. The plot of the movie version of "Face of Heaven" is too simple.

It tells the story of Yamaha and her life in a seaside town after she left Tokyo, but two people who promised never to contact again met by chance in this seaside town. They wanted to rekindle their feelings, watch fireflies and take a bus together.

However, Nelizi knew about it, but this time Kitano chose to follow his heart. Instead of returning to his family as he did three years ago, he chose to divorce Nelizi and settle in a seaside town with Shahe.

Neriko lost her mind because of humiliation and jealousy. When he saw Kitano for the last time, he drove Kitano out of the fence and fell off the cliff with Kitano, but Nerizi was rescued and Kitano died in the accident. Sad gauze, ready to lie on the track, but thinking of the child in Kitano's belly, I decided to live bravely again for the sake of the child.

In this way, the whole story goes back to the old story of "good and evil will eventually be rewarded" and the threatening moral admonition about marital loyalty. In the romantic love bridge divorced from reality, rigid and outdated drama conflicts and mechanical death penalty, the complex social problems and ethical dilemmas presented by TV dramas are covered up and attributed to conservatism and dullness.

Extended data

With the help of this drama, the leading actors Saito Takuhai, Aya Ueto and Michiko Kichise have won countless fans in China. In addition to attracting attention, it creates a miracle of viewing.

The success of this drama lies in that under the background of East Asian culture, it is the first time to express the housewife's desire to break the shackles in a boring marriage, which is undoubtedly a challenge to mainstream values, but also because of the exquisite shooting techniques of this Japanese drama, it presents the innocence and aestheticism of love.

The richness of the two heroines' personalities and the complexity of human nature, as well as the women's pursuit of economic independence and personal freedom in the film, also cater to the awakening trend of feminism in East Asian cultural circles. Therefore, the romance despised by social morality depicted in the play can win the sympathy of the public, especially the resonance of female audiences.