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    • 主演:条田三郎 八并映子 田村亮 
    • 导演:実相寺昭雄 
    • 分类:伦理片
    • 地区:日本 
    • 年份:1972 
    • 更新:12.08
    • 简介:<p> 作为一个忠诚的年轻管家,他全身心地投入到自己的精神责任中,他的老师打算把他祖父的山上财产交给房地产经纪人牟利。 引用远山如黛,水田忙碌,実相寺昭雄的电影景物总是那样的精致。 &emsp;&emsp;镜相之间,水流疾,飞鸟遁,唯卧石 容下岁月沧桑! &ems
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    <p> 作为一个忠诚的年轻管家,他全身心地投入到自己的精神责任中,他的老师打算把他祖父的山上财产交给房地产经纪人牟利。 引用远山如黛,水田忙碌,実相寺昭雄的电影景物总是那样的精致。 &emsp;&emsp;镜相之间,水流疾,飞鸟遁,唯卧石 容下岁月沧桑! &emsp;&emsp;道场 因人而在 是非荏苒 景象 在四目相触之时 云起花开 &emsp;&emsp;时间 在于心境 许多被标注了的点 只是迎合文字 就像一晃而别的钟 在胶片上以每秒24格的速度占据我们的视野,而岁月无声 庭院里挤满往事的遗骸 生者无知 &emsp;&emsp;日本人有着特别的悲秋伤春的情绪 而这样的情绪外化就是钟的意象不断的加深流逝的概念,在这个钟运用最多的大概是王家卫了。 &emsp;&emsp;黑白影片是考验导演功力的,无论是景深还是光感都需要用心,本片以西乐为配乐而场景里却是浓浓的东方禅意,在一物一镜里,知会尘缘。 &emsp;&emsp;导演的摄影风格老是让我想起周作人,就连一个吞咽动作都拍得那么具有诗意。而且,日本在文化上并不自大,在他们的谦卑里却做到了内外兼修,在日本的电影里,东方文化被他们掌控的非常精到,无论是书法、园林和茶意中国当今的电影几乎都不敢涉及,除了胡说八道,我们的传统已经渐渐跟随那些国学大师进入八宝山。 &emsp;&emsp;一本欧阳询(557641)的《九成宫醴泉铭碑》(魏征撰文)的碑帖在异乡生根,而我们在所谓的数字化里已经丢弃了毛笔,一种可以修身养性的方式。 &emsp;&emsp;日本电影在谈论生死的时候总会陷入人生无常的苦闷,在《哥》里行脚僧关于人世和自然的告白让我们理解人和自然的关系。 &emsp;&emsp;盛名也罢,碑刻也罢,千年乃至万年 天高云淡 微尘入洋 &emsp;&emsp;梵铃凄厉,坟茔无语,人世道场,莺飞草长 形式和救赎之间是行走 &emsp;&emsp;这样的电影具有形式的美感却已经无法进入当代观众的视野,离了观众也就失去了源。这些唯美派的日本导演在80年代后渐渐失去了市场其实和这个世界高速发展有关。 &emsp;&emsp;这是一部好电影,但是它已经如同黑白影调以及胶片一样已经成为小众的爱好,对于影像的世界,幸运还是灾难?! &emsp;&emsp; </p>

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