Is Norwegian Wood good?

As we all know, Norwegian Wood is an extension of the short story Firefly. If you count 1973 pinball, Naoko appears three times in Murakami's novels. I still remember Naoko's description in 1973: "It was the smile of a girl who got an A in every subject in college, just like the Persian cat in Alice in Wonderland." Although there are not many sentences, the role of Naoko is clearly imprinted in my mind. Although in the Norwegian forest, Naoko stopped laughing. In the novel Firefly, the same "death squads" shine brilliantly, as if a drop of water had been thrown into the sea and disappeared into the rapidly unfolding story. In the movie, the "death squads" are completely weakened into passers-by. Disappeared together, and canals of amsterdam's poster. Fortunately, Chen Yingxiong is not Zhang Jizhong after all, and he didn't change the original work too much. In addition to weakening the "death squads", other parts are basically loyal to the original work, basically loyal-if there is any big change, it is that I am interested to see how Chen Yingxiong expresses the chapter "Naked Girl on a Moonlight Night" in's Norwegian Forest (translated by Lai Mingzhu). The result ... the result is gone. Of course, two hours of movie time is still very short and cramped for this novel, so what we see is a novel that has to be shrunk. This shrinkage runs through the whole process, and even the number of girls who have slept in Yongze has dropped from the remaining 80 to more than 70 ... It is not without extension, such as Qing Zi's skirt, which I believe is definitely much longer than that in the novel.

To tell the truth, when this film was first released, I was worried about whether a Vietnamese could make such a strong Japanese-style film. Looking at the whole film, my worry is not unreasonable-the grassland swept by the breeze, the forest covered by layers, and the snow-covered land. Although Chen Yingxiong added these elements to the film as much as possible, it never gave me any novelty. If we compare the style of Shunji Iwai's works and the description of the same scenery, the Japanese are better at grasping the "small freshness", and the "Japanese" mentioned in photography is not something that a Vietnamese can imitate after all. I am even more disappointed with the handling of the ending of the film. In the original book, Watanabe was lost in the crowd in the city. In the film, Watanabe disappeared into the sudden subtitles of the staff. In a word, Chen Yingxiong's mastery of the overall style and the handling of details have only left me disappointed.