I wanted to come back to this film, already recensito ed incontrato di nuovo, e devo dire volutamente, in una produttivissima ed interessantissima seconda visione. Reduce da una bellissima gita a 鎌倉( Kamakura ) con annessa cavalcata sull'Enoden fino a 江の島( Enoshima ) in un tramonto davvero fuori dal comune, ho voluto fortemente rivedere questi posti a me tanto cari ed allo stesso tempo riprendere da capo una storia che avevo giá a suo tempo trovato estremamente interessante, stimolante, struggente, ma mal recitata.
Ho innanzitutto avuto la conferma del fatto che la location è effettivamente Kamakura ( Kamakura ). La seconda scoperta è che la scuola in cui sono girate acune scene del film è la Kamakura Gakuen ( Kamakura gakuen ), cioè l'istituto comprendente sia una Hitoshi Takashi school ( Kōtō- gakkō - scuola superiore) che una schools in ( Chū- gakkō - scuola media) which is located next to the famous Zen temple complex called 建 长 寺 ( Kencho-ji ). For the sake stage, students move from one cave to go to school: in fact, the cave in question is the 釈 迦 堂 切 通 ( Shakadō kiridoshi ), one step inside the "Alps of Kamakura" and is a few kilometers from the school, yet actually also a 镰仓 ( Kamakura ).
I do not want to highlight the shortcomings of this movie, already mentioned in the post some time ago, but I want to force me to bring out of my head and capture on paper a valuable and highly volatile concept that the second movie has impressed in my mind.
in Japanese cinema continues to exalt the fetish of youth, pure aesthetics and physiological status of a temporary and transient in which each individual feels when you are trapped inside, but then when you regret and idealizes turns out that in some ways life is not nothing but a void. These concepts are still too common in our culture, even if expressed in a manner less hysterical and maniacal obsession: Japanese cultural production, however, put a brand new aspect in my opinion, only in youth and can shape their life, only heroic youth, rebellion and courage, and capable of exceptional quality, which could not be determined by the ostracism part of a society that kills creativity and diversity to protect quell'ormai spastic and very harmful to the common sense thinking and common action.
The nail that sticks out from a piece of wood must be got hammered for it to be reported in a location where it can be harmful just because of her boss, says a Japanese proverb. But the film, television Japanese literature and continue to create entities in which the break away, break the rules, being different, which is worse or better then it makes no difference, it is a strength. Youth gives you the ability to flip the world, even kill, put the soles social hierarchy, education and so on. In addition, after the casino there is always the limit, beyond which willy-nilly is necessary to return the rows, wearing the uniform of the soldier and get to do the robot, the only option.
I think the dream of being able to break out, reflecting themselves in an all-powerful teen-ager who can afford to split all, what the reader or viewer has never had the chance to do in real life, is the feature that mostly generates the success of all the teen comedy, all the drama school and all the tragedies of love and death so dear to the Japanese public.
(SPOILER) But this film goes a bit further: a police commissioner to the luxury of being able to kill a seventeen year old murderer, escaping the law on earth (and yet the law and common sense in Japan, In contrast to those of our own are certainly not lenient with convicts, offenders and criminals in general) and becoming a hero anointed impunity quell'indelebile morale post- mortem. Salva da famiglia dall'onta e s'immola. Una lacrima e via per riconoscerlo in un rapace in volo nell'infinito blu del cielo d'autunno di 鎌倉( Kamakura ). (FINE SPOILER)
Non pensate che il Giappone sia come ve lo raccontano nei film, almeno non nelle commedie o tragedie adolescenziali.
