Traditional Culture Encyclopedia - Photography major - Angel's Courage: A Film Review of The Red Classroom
Angel's Courage: A Film Review of The Red Classroom
On the edge of a pile of abandoned garbage, a woman came over, threw him the windbreaker left by the man, and then walked on.
"Go straight, then turn right, and you will see a temple, where you can call a taxi."
The woman stopped and said quietly, without looking at the man.
This is a plain conversation, just like casually answering a lost passerby in the street. We just passed by casually, leaving no memories or traces. But the following conversation brings out some trivial past events and exposes the past of existence, so emotions are like montages spliced together, which are warm and cold in an instant.
"I waited for you, but only for three hours. That's it. "
After saying this, the woman turned and left, ignoring the pull and confession of men. At a beach by the roadside, she stopped and bowed her head slightly, and there seemed to be a light flashing on her cheek. The cold light projected her figure on the dirty water, reflecting a still beautiful outline. She hesitated, and then went in, the shadow shaking violently, split into pieces in the ripples. ...
This is the last scene of Nakasone Kang Cheng 1979' s The Red Classroom (Angel のはらわたぃぃぃぃぃぃぃぃぃぃぃぃぃぃぃ12 Affectionate and fragile people may need a strong piece of music to express their feelings, but Chusei Sone just sighed softly. In that fleeting silence, there was faint music in the background, and it faded before it reached its climax. The staggered love described by Nakasone in "The Red Classroom" is as sad as this quietly appearing music. Although it only lasts for a few seconds, it lasts for a long time.
This classic film, which was selected as one of the Japanese 20th century 100 business cards by the film decameron, actually has a layer of pingju surface. Like other pink movies, the red classroom is full of naked female bodies and pleasant images of falling in love, and functional beauty is everywhere. But this is obviously not Chusei Sone's intention. The fate of characters hidden under sensual desires is the focus of his attention.
In The Red Classroom, Chusei Sone tells the love story of a man and a woman in a wide range of strokes: Haruki Murakami, the editor of porn magazine, and the actress of pink movie are both famous, but they are attracted to each other but have no chance to fall in love. Although we meet again and again, we can only miss it again and again. Attracted by the function of superficial pink movies, Chusei Sone can go deep into the hearts of the characters, show their hidden passions and emotions, and combine them with the background of the times, which endows pink movies with strong realism.
Different from those works that depict characters in detail, Nakasone Yasuhiro in The Red Classroom adopts a very concise way to avoid depicting characters, but focuses on describing the living conditions of characters in different time and space, highlighting subtle repetition and variation, and completing the characterization through comparison. Correspondingly, it is the three-act time and space of linear narrative. In the first act, while watching a movie like "The Female Teacher", Haruki Murakami has a complicated feeling for the heroine, but he can't find any clues about her. The second act took place a few years later. Murakami accidentally learned the whereabouts of the heroine's famous beauty, so he asked her to meet and confess at an inappropriate moment. Because each other still needs time and space to accept each other, Muraki decided to meet again the next day; But the next day, Murakami was accidentally caught by the police. Minmei waited for a long time at the appointed place and finally left sadly. In the third act, three years later, after a filming trip, Haruki Murakami saw her fame again, but she was no longer her former fame. ...
In the film, Chusei Sone created a group of men and women whose edges and corners were polished in daily life. They live silently in blind running day after day, and occasionally regain the meaning of life, but they hit a wall again and again in the pursuit. Although they look as good as before, their hearts have been broken into pieces. The focus of this group of characters is undoubtedly concentrated on the fame and fortune characters played by Ji. It is through her experience that Chusei Sone created a battered, chased and destroyed female image, which also represents truth, goodness and beauty in a certain sense. Haruki Murakami, an erotic practitioner in Keizō Kanie, whose sincere and persistent love for fame and beauty is the most effective weapon to save this woman who is addicted to the sea.
This kind of woman waiting to be saved and her image is the most commonly used mode in sitcoms, but Chusei Sone gives it more content and meaning in the film. As the rescuer of the devastated beauty, Murakami himself is a rescued person. In order to survive, he devoted himself to the pornographic publishing industry. He has already lost the feeling of love and beauty in the easy-to-get sex, and "lost the ability to be moved". Until he fell in love with the fame and fortune in the movie, those lost feelings revived. It is in the salvation of fame and beauty that the pursuit of love and beauty also saves oneself. This two-way, interactive rescue, while following the sitcom model, broke the ideological restriction caused by the cultural background in the sitcom, changed the usual meaning of social compromise and self-sacrifice at the end of the sitcom, and thus raised the theme to a new level of expression.
In the three-act space-time of The Red Classroom, the story seems to be a three-stage structure. However, if we skip the first part of the introduction and focus on the last two acts of the story, we can find that it is a carefully designed and exquisite contrast structure, in which the plot and details have strict evolution, opposition and unity, just like things themselves and reflections, and the medium between them is time.
In the second act, the village wood is in a state of inexplicable loss; Editor-in-chief of a pornographic magazine, small and underground; Duan Liyang was his regular lover, and Muraki was the first man to have sex with her. The relationship between them depends more on sex. Because the shooting needs a venue, Murakami heard a completely unfamiliar but extremely familiar voice on the reservation phone of the lover hotel; He found fame and beauty in the lover's hotel. She has a clean and innocent face. On their first date, they met in a bright park. Later, in the hotel, Minmei took the initiative to seduce him with sex, and Muraki impulsively hit her; I didn't know her name was Minmei until I left; The next day, in the pouring rain, Minmei didn't wait for Murakami; In Lost Abandoned, Minmei fills the emptiness with sex, and a man becomes her sex slave. ...
In the third act, Murakami is in a more realistic state of loss; The magazine is already quite big; Duan Liyang became his wife; There is a daughter named Minmei, who is obviously entrusted with the unknown feelings of Murakami; There is no sex between the two; For the same reason, Muraki came to the lover's hotel, but the waiter was an old lady. Later, on a rainy and dirty street, Murakami accidentally met a famous beauty. She took the initiative to attract passers-by and put on heavy makeup, but her beauty still changed too much. In the entanglement of Murakami, Minmei's current lover beat him; The next day, Muraki came to Nami again and was beaten again. An honest man is still a beautiful sex slave; Finally, in the attic, in a chaotic sexual performance, fame and beauty are immersed in the climax, but sex can no longer fill the void. ...
This structural mirror image or "two" image is Nakasone Yasuhiro's most creative application in The Red Classroom, and it is also the basic structure with the most internalization and expressiveness of the story. In addition to the above repeated details, similar structures are also reflected in the setting of characters other than the main roles. In the second act, Duan Liyang and Haruki Murakami are lovers. In the third act, they become a marriage relationship, from instability in the social system to a stable structure. Honesty, fame, and beauty are based on accidental sexual attraction at first, and finally they have a special sexual relationship, which not only makes them prisoners of sex, but also makes sex a commodity. Although it is not clear whether there is a marriage relationship between two people, this mutual need relationship is obviously a relatively stable social structure. This social contrast also constitutes a mirror image. On the other hand, photographers, assistants and female models in pornographic magazines are all elements used for comparison in this mirror image.
In this mirror image structure, there are both vertical contrast of linear time and space and horizontal contrast of time and space. For example, the comparison between two women: fame and beauty have spiritual connection with Murakami, and Duan Liyang has physical connection with Murakami; After the change of time and space, there is still some spiritual connection between Minmei and Murakami, but there is a de facto marriage connection between Duan Liyang and Murakami. When we look at the tangled relationship between them, there is also a huge gap between these two different connections. The comparison between two men also belongs to this category. Focusing on fame and fortune, Murakami and fame and fortune have spiritual connection, but they can't come together; A gentleman and fame and beauty are only physically related, but they can be together. As far as the theme of salvation is concerned, neither of them can save fame and beauty, and the failure of saving this behavior leads to their own sink. Corresponding to their respective relationships, Minmei to be saved is also a two-way double rescue, two rescues in different time and space, and two savers in different ways.
From the mirror image of the two-act structure to the overall three-act structure, we can see how the structure determines the powerful tragic ending. In the first scene, Murakami has an emotion for fame and fortune, and the rescue of fame and fortune begins, but there is no realistic connection between them. Salvation only exists in ideas, and the ultimate value of this scene includes loss; In the second act, Murakami meets fame and beauty and expresses his feelings and desires. This is the second rescue, and the unexpected failure to stand up leads to ironic effect. In the third act, everything has changed, and redemption is just a powerless struggle. Fame and fortune refused to save and let themselves sink, which is an irreparable failure. For Haruki Murakami's self-salvation, he found a way in the first act; In the second act, he took action, but failed; In the third act, his situation has decided that redemption becomes meaningless, and the powerless self-salvation becomes an impact on the social structure (marriage), which is doomed to a tragic ending. Man in the mirror's double failure of external redemption and internal redemption endows the story with the greatest tragic significance.
This is just the starting point. We know that the greatest tragedy comes down to fate, and the greatest significance of fate lies in its repetition, which is repeated in different people and different times. A masterpiece must continue to expand outward on the basis of completing its expression; At the same time, in form, whether the ending is open or closed, it is best to have a closed-loop structure. All this, Chusei Sone skillfully and naturally completed in the red classroom. In the last part of the third act, Minmei has sex with a man under the peep of Muraki. A man who has nowhere to vent his desire pulls the upright man away and asks if there is a second woman. Unexpectedly, Masahito opened the floor and pulled out a girl dressed as a schoolgirl. Hungry men immediately surrounded her and surrounded her. In the background, Murakami was bumped up and down by a man, and his expression was callous; In the foreground, the girl's hand is stretched out in the air, and she can't catch it aimlessly, and the lights shake back and forth, flashing alternately; In another room, Murakami witnessed all this happening ... At this moment, many images of female students and teachers, people who have gone astray and the fate to be saved, abused women and helpless bystanders overlap, creating a shocking climax. Formally, it echoes and mirrors from beginning to end; In content, it successfully extended the tragedy to different times and different characters, and created a recurring fatalistic theme.
The Red Classroom is adapted from the Courage of Angels, one of Takashi Ishii's series of cartoons. An important feature of Takashi Ishii's works is the extensive use of rainstorm scenes to set off the environment and atmosphere. Because there is no glimpse of Takashi Ishii's original works, it is impossible to determine whether there is a similar scene in the cartoon "The Red Classroom". In this film, the image of rain is partly inherited by Chusei Sone. In the scene where the village wood and the famous beauty passed by, it rained cats and dogs, drenching the famous beauty; On the night of their reunion, it was raining in Mao Mao, and it was Murakami who got wet. In these scenes, the image of rain shows the characters' hearts to some extent. But in the whole movie, the image of rain is actually contained in the image of water in Chusei Sone. In the film, pure water, polluted water, moist ambiguity and sex, body fluid, water and safflower, red and lust, white and other elements constitute a complex but ambiguous symbolic system. The most important significance is that the mirror image of water, the metaphor of the river of time and the mirror image structure of the story form an associative image, which strengthens this ideographic system in form and content.
Another independent and directly visible element in this system is Chusei Sone's use of color (red), which is also complex, vague and contains multiple levels. This element, first used in the movie "Play in Play", is a dull red color, including safflower, red lips, red corridor, red fence and so on. Used in current stories, including red props, red clothes, red lights and so on. In the plot, safflower, as a narrative element, corresponds to several encounters between village wood and famous beauty; In terms of color, some of them use red tones, which corresponds to their strong emotional symbols.
In this comprehensive application, Chusei Sone and his collaborators have created many amazing performance scenes, of which the most wonderful scene may be the meeting of Murakami and Minmei in the hotel. This is a complicated play, which contains many details. In terms of content, this scene will enable two people to achieve spiritual harmony for the first time on the premise of confrontation. This process includes a series of complex psychological activities such as misunderstanding, confession, persuasion, temptation, excuse, anger, self-mockery, moving, acceptance and so on. Through these clear details, the characters will complete a difficult transformation in their hearts. At the same time, in order to maintain the narrative progress and rhythm, the scene must be within a controllable time. The final screening time is about eight minutes. In this paragraph, Chusei Sone takes an intermediate lens as the main lens, and divides the whole paragraph into three parts with the appearance of this lens as the boundary. In the first part, Chusei Sone emphasized the conflict between them with frequent switching; In the second part, this switch is slow, but Chusei Sone strengthens the movements of the characters to make the confrontation reach a small climax, and then expresses the turning point involved through the dynamic and static transformation of the characters; In the third part, Chusei Sone used only one shot to illustrate the plot, and extended the screen time at a slow pace, so that the audience could go deep into the hearts of the characters and appreciate the delicate emotions involved.
In this play, Chusei Sone's control of the rhythm and the arrangement of the scenes all show a high standard, but what is most appreciated is Chusei Sone's performance of another important element of this play-time. Unlike the controlled screen time, the time here refers to the story time, which is invisible, but keeps passing through the scene. It interacts with narrative rhythm, creating a strong tension. Here, the biochemical invisible can be seen, and the emotions contained in the plot are vividly expressed. Structurally, it contrasts with the image of mirror of time in the sewage pond at the end of the third act and becomes an important part of the whole mirror image.
The element of time cleverly exists in the middle scene as the boundary. In these three main shots, the background is window paper, and the main light source of the scene is light coming in obliquely from outside the window paper (which may be a strong light source simulating sunlight). In the first shot of the opening, the light casts the shadow of the roof on the enough paper from the upper right to the lower left. The gray shadow occupies half of the window paper, and the other part is bright white light, indicating the time when the plot takes place. This contrast of white, white and gray also constitutes the main color of this scene. By the time the second shot appeared, the shadow on the enough paper had become smaller, and there was an obvious red tone at the border, indicating that the time had changed and the overall tone of the scene had become a contrast between white and red. The change of color here also symbolizes some changes in the characters' hearts, which is strictly corresponding to the development of the plot. The third shot is also a complete part. Although there is only one shot in this part, it is also segmented internally. At the beginning of this shot, the light on the enough paper moves quickly and then disappears; The room is dark; Then there is a red light on the left outside, reflecting the left window into paper red, and red becomes the main color of the scene; After a while, a white light lit up on the right side, forming a white halo on the right side of the window paper, which was in sharp contrast with the red on the left. The timing of this white appearance corresponds to the moment when Minmei's heart changes. At this time, she turned her back to the camera and was silent, but the change of light revealed her inner world. From these changes, we can also find the emotional symbols represented by gray, red and white in this play. In this passage, the use of sound and soundtrack has a similar effect, but it is not as clear as the former.
Lighting not only plays an extremely important role in this scene, but also has outstanding performance in the whole movie. In the realistic theme, this combination of lighting and dancing beauty creates a strange and mysterious tone in some scenes, which is an indispensable ideographic space for the theme of fate. The magician of this film is Hideo Kumagai. His collaborator is an extremely important filmmaker in the history of Japanese film, and one of the most important creators in the 1970s, although there are no famous master directors. He participated in the production of 100 films, and his career has continued from the 1950s to the present. Representative works include War and Man (III), Witness of Human Beings, Shadow of Fish, Murderer of Youth, etc. The latest work is Transparent Tree directed by Taro Muqitai in 2006. The lighting technology he used in The Red Classroom is very similar to that used in many Japanese films, especially ghost films (mysterious and scary stories).
In this scene, the film also has an important image, that is, the internal scene frame composed of horizontal lines and vertical lines unique to Japanese architecture. Apart from the consideration of composition, the main reason should be that Chusei Sone has created a kind of imprisoned image, which is not only a kind of human imprisonment, but also a deeper imprisoned emotion and lust. In photography, Chusei Sone used many low-altitude angles to create a sense of oppression, which is similar to the image of imprisonment. Another part of the photography angle is more prone, which may be used to show that gender is subordinate or dominant in sex. This is one of the most common themes in pink movies that focus on functional attraction. As the director of a red film, there is no doubt that the role of Murakami portrayed by Chusei Sone in the film is more self-descriptive. With his outstanding performance in The Red Classroom, Chusei Sone broke through the artistic limitations of pink movies. At the same time, Zeng Genzhong still retains the consistent thinking of pink movies, that is, the coincidence and separation of spirit and desire. In the story, Murakami's affection for fame and fortune originated from watching erotic films, and watching itself is more erotic, and the interior of emotion also contains lust more or less. This kind of pink movie's discussion of feelings and desires is itself random and vague, but combined with the fatalism theme of the red classroom, it unexpectedly has serious ideological content, far beyond the realm of ordinary pink movies. Structurally, this separation and overlap are also included in the overall mirror image.
Earlier, we talked about the characteristics of melodrama in The Red Classroom, and also said that The Red Classroom transcended the tragic significance of melodrama. This kind of sitcom usually has some fixed routines: starting with repressed sexual desire, focusing on sexual liberation, and ending with appropriate sexual behavior. Compared with the red classroom, we can find more similarities between the two, especially the pink surface of the red classroom. Interestingly, eroticism is mostly integrated in sitcoms, but the erotic relationship in The Red Classroom is much more complicated, especially in the second half, where eroticism is completely separated, which is obviously different from most pink movies. Another thing that can distinguish the red classroom from the pink movie is the erotic scene in the movie. In most pink movies, similar scenes are born entirely on the basis of functional selling points (female teachers), or the dominant narrative content (SM type). In The Red Classroom, similar scenes are an indispensable part of the story and have the same status as other plots.
Jumping out of the story and looking back at the red classroom more or less includes some involuntary thoughts on the film itself. One part is the significance of porn creators to Chusei Sone's own situation, and the other part is Haruki Murakami's affection for fame and fortune when watching movies. This behavior contains many ontological meanings, such as ritual, empathy, substitution, identification, gaze, promiscuity and gathering feelings. Generally speaking, The Red Classroom has all the characteristics of an art film and is a rare masterpiece. It not only tells the story of fate, but also tells the eternal harm of lovers. It also tells the story of every ordinary person who is polished by life day after day. This is the sigh of time. After all, people can't step into the same river twice. It is also the ultimate worry about fate. Even if you get rid of an ominous sign in your life, you can't avoid two big waves that fate will follow. ...
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