Often regarded as the most “Western” of Japanese directors (Bordwell, 379), throughout his career, Akira Kurosawa had demonstrated to the world his illustrious aptitude for incorporating western culture into his films to create a distinct cinematic language both stylistically and symbolically. While many of his antecedent films, such asRashomon(1950) andThrone of Blood(1957), epitomized his keen assimilation of classic western literature and philosophical ideas, inHigh a
寄生虫借鉴下女,下女借鉴这部//舞台剧+刑侦剧,天国里的室内舞台剧机位基本不动,角色站位讲究,绝佳的室内全景镜头拍摄案例,寄生虫也是。而且开头的牛仔闯入和虫的印第安闯入太像了,都想解读成美国的劣质商品入侵日本本地了;室外刑侦剧,就有剧情的起伏更像电影的节奏。很喜欢舞厅那场戏,纷繁的人群里亦很好表现警匪之间的侦察反侦察;内核贫富之间,我们比较明晰看到了天国这边的情况,但地狱那边的内容就比较少,只有一句没空调的抱怨,就觉得挺可笑的
影片的第一段的主题是三船的抉择,第二段的主题是侦探破案。两段之间的主题差别特别大。这样的两段式结构,印象深刻的首先有《生之欲》,再有,便是《百万美元宝贝》。这样的结构有风险,也因出其不意而让人印象深刻。
第一段,如何处理三船的抉择,让我想起了桥本忍举过的编剧技巧(虽然本片编剧里没有桥本先生),假动作,以退为进,以攻为守。在三船铁石心肠决定不付钱的时候,突然让他的手下改变主意,劝说他付钱——这是打破僵局的一个重要出击。然而这是一个假动作,这个手下心怀鬼胎
一绝!CC标准收藏海报赏析 · 天国与地狱
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