Kuroneko, directed by Kaneto Shindo, is a very complicated dark love story. Unlike many other films with similar background setting, we cannot see justice over evil at the end, and the conflict between samurais and ghosts are left unsolved. There is no right answer in the film, at least the director didn’t give that intention. I think one reason why Shindo designed the story like that was directly related to his Japanese philosophy and the difference in thinking from western culture. His purpose was not to simply discuss karma or good and evil, but more about “losing — losing one’s soul, life, honor, or humanity”. Most of Shindo’s works focused on the lowest class of society, as he said, “I would like to see problems as they are faced by working people, who are the protagonists in my films. I am interested in the way they overcome their difficulties; at least, I like to evoke the hope of overcoming, some prospect for the future.” It can also be reflected on his design of the two women occupy by a low animal as cat in Kuroneko. I have to say that Shindo is really a good screenwriter, that is why Kuroneko has such a well-knit plot. It is very compact and pacy to attract people to keep watching. The film is full of oriental aesthetics, the thick fog and wind in bamboo is so poetic, and both the use of light and stage performance are very delicate and beautiful. Especially Yone’s dancing as some sort of ritual and her fade in or fade out in the darkness make the atmosphere extraordinarily mysterious.
精彩绝伦啊!婆媳两人走位的哭泣特别棒
见人见鬼,见鬼见人,本片最精彩的便是中间人鬼相依之处,明明彼此相恋,却有着知晓无法长久的悲怆,使得全片悲的意味远大过恐怖。当然镜头,光影都很赞,黑白的镜头似乎天然就勾勒出了亮得发白的脸和脏得漆黑的心。
请忽略剧情介绍。韵味别致的和式怪谈故事,镜头很美,贯穿始终的仪式感。母亲、儿媳、儿子三位主要人物的刻画表演特别出色。当得知眼前人就是儿子/丈夫的时候眼中含泪的克制感不能更动心。重子与银时缠绵相守七日的段落是太感人的爱情故事。(在知道乙羽信子和新藤兼人的爱情故事之后更加唏嘘...)
竹林中的弹床翻腾和吊钢丝大概启发了《侠女》?开头强奸杀人一场拍出了光天化日下的令人发指。利用抠像和摇镜头剪接造成鬼屋效果,故事是对武士文化的讽刺和控诉,展现了武士的懦弱、残暴和贪婪,包括男主。
日系《聊斋》
老片的爱恨情仇
最终武士披头散发的样子,与邪神无异。武士本身是矛盾体,夹在权利与正义之间,其实从来都不曾掌权过。舞台化的鬼形,精美的布置
类似能剧中舞的部分美爆了。竹林和树林中的光影就好像仇恨编织的囚笼。
舞台化的杀人场景好棒,源赖光和罗成门之鬼出来的时候我就知道哪里不对,果然是借用赖光四天王之一渡边纲斩茨木童子手臂的故事。话说御伽草子里设定美女和妈都是茨木的化身,拔刀就砍什么的,仿佛get到了一个拔屌无情的搅基故事。
当年芦荡鬼婆媳,今朝竹林化猫妖,风吹芦荡明灭暗,月照竹林参差碧,黑夜掷投梭,白骨相撑拄,修罗场上活人少,罗生门下丧尸多
聊斋式的故事,舞台剧式的布景,简洁干练的摄影和美工,让人对那片竹林既向往又可惧。布景大赞~
竹林戯讓人想起胡大師的《俠女》
经典果然经得起时间的考量。后篇幅大段的人性描写太精彩了。自己面对的到底是母亲还是怪物只有自己知道,或许只是内心最邪恶的东西罢了。
场景和《鬼婆》果然一脉相承
新藤兼人导演1968年的《黑猫》美呆了,日式幽玄之美哀感顽艳沁人心脾,美工考究一丝不苟,主要场景发生在竹林,清洌幽深像一个镜湖,人鬼之恋悱恻缠绵回味无穷,我们就没有谁把聊斋拍出这种味道。片子比胡金铨的《侠女》还要早一点,唐诗般的竹林戏多出了很多倍,不知是英雄所见略同,还是有先后之别。
布景、构图、美术、光影、氛围营造俱佳。同样是《鬼婆》原班底而来,此片现实批判性较弱,日本舞台乐的格调使之更为鬼魅阴森,有着日式怪谈的一贯风格。几个分镜头模仿猫的形态,移动竹林和室内对话的分屏叠影,动静互补,就好像现在看分屏互切。几场竹林场景戏太有幽玄诡异的意味了,加之鬼魅的配乐,很有感觉。8.2
日本聊斋,得柳泉之神也
3.5星,影像非常的魅惑诡异,充满邪魅的吸引力但是故事感觉不太流畅,从媳妇过渡到母亲有点像两个故事了。。。相比较来说还是后半段也就是和母亲较量的这一个部分更耐看更挣扎,乙羽信子演的非常好,演技太精湛,我们有更好的故事但是却没有这种电影语言。。。PS某些画面有贝壳与僧侣的影子。。。
超经典的恐怖片,连我妈都吓到了
非常非常喜欢新藤兼人老头