Akira Kurosawa's third film, released a year after The Most Beautiful (which he made for his wife) (actually, if it weren't for the lousy search function of Douban, there'd be no need to repeat this sort of objective reality in a review).
Akira Kurosawa himself, in his autobiography "Toad's Oil", doesn't seem to recognize much of the cinematic value of this "sequel to Zizan Sanshiro", which coincides with the popular aesthetic, the biggest criticism being the lyrical patriotism, similar to that in the modern-day Ip Man, an element that was loathed in the movies 60 years ago, and is still the case 60 years later. It's just obvious that the director, who has influenced Western cinema many times over in terms of casting and dramatization, naturally has his own insights. In the "Zi San Shiro sequel" will rarely see so involved, Kurosawa has shot, so low mobilization of nerves of film and television subject matter, at this point, I think the domestic film and television industry is still worth looking back at history to learn.
But the master is a master, after all, in the "Zi San Shiro sequel" we did not see colorful on that bad bridge too much continuation, but is point to the end, in the end oriented to the benevolence of the evil of revenge on the ending. It's as if when countless critics were giddy as if they were watching this talented Japanese director have some cracks in him, Akira Kurosawa once again backtracked on the theme of human kindness so that his early style wouldn't be so clearly labeled as patriotic.
Even now, as a director who has just made two movies, in his early work has revealed extremely artistic light and composition, in dealing with multiple people standing, not only makes people wonder if Antonioni has come here to steal the division.
Akira Kurosawa himself, in his autobiography "Toad's Oil", doesn't seem to recognize much of the cinematic value of this "sequel to Zizan Sanshiro", which coincides with the popular aesthetic, the biggest criticism being the lyrical patriotism, similar to that in the modern-day Ip Man, an element that was loathed in the movies 60 years ago, and is still the case 60 years later. It's just obvious that the director, who has influenced Western cinema many times over in terms of casting and dramatization, naturally has his own insights. In the "Zi San Shiro sequel" will rarely see so involved, Kurosawa has shot, so low mobilization of nerves of film and television subject matter, at this point, I think the domestic film and television industry is still worth looking back at history to learn.
But the master is a master, after all, in the "Zi San Shiro sequel" we did not see colorful on that bad bridge too much continuation, but is point to the end, in the end oriented to the benevolence of the evil of revenge on the ending. It's as if when countless critics were giddy as if they were watching this talented Japanese director have some cracks in him, Akira Kurosawa once again backtracked on the theme of human kindness so that his early style wouldn't be so clearly labeled as patriotic.
Even now, as a director who has just made two movies, in his early work has revealed extremely artistic light and composition, in dealing with multiple people standing, not only makes people wonder if Antonioni has come here to steal the division.