To be honest, I was on guard before it opened.
The word "classical novel" has been used for years. Mostly by looking for a few well-known names and a layer of modern skin. So I thought that's probably what happened to "Kakuya-ki!" -- Kaguya-ki, the Japanese have heard big stories from childhood, moved into Sabotang, added to the shell of a virtual idol.
And I was sitting there long after the end of the line.
One, the story of the "failed" ran over the Japanese for 1,200 years.
Let's be clear about how precious this film is.
It could be the first real tragedy in Japanese literature. A 3-inch-long boy was picked up at the bamboo festival, brought home, raised three months old, and called her "Kaguyaki". The five nobles came to propose, and she made five difficult questions — the quartz of Tianfeng, the jade branch of Penglai, the fur of the fire rat, the bead of the dragon's head, and the son of a swallow, Amber — never to make trouble, she understood so well that they did not love her, but the light of the words “Kaguyaki”. Even the Emperor can't be free of custom.
Then August 15th, full moon night.
The heavenly man came to her from heaven, and she cried, and she did not want to go, and she begged. But for a moment, the garment was put on it, and the text was very calm: she was no longer concerned. She didn't leave the world, it was erased from her memory. She left a letter, a pot of undead medicine, and went up. The Emperor ordered the medicine to be burned on the top of the "nearest mountain" which is called Mount Fuji — the undead drug burned to ashes and smoke remains.
You see, this story is all about the same thing:I can't.。
The beautiful things must go, and when they go, they leave you no memories. This "material sorrow" has become the basis of the entire Japanese literature, and it has become a near-fate aesthetic: it is as if it is only defective, it is impossible to ask for it.
So I've been a little resisting it. It's cruel. It's a little irrational.
Two, "Are you Kaguyaki?"
The opening of the movie was surprising.
Seventeen-year-old Iroha Sakayori, who was the only breathing link between his studies and work, had entered the virtual space of "lunar reading" to see the live broadcast of Tsukimi Yachiyo, a human gas anchor. It's too real -- it's not the grand start of saving the world, it's a tired high school girl trying to hide on the screen.
Then one day, on the way to work, a baby fell out of a rainbow-lighted pole.
The baby grew up as a girl of her age. The colored leaves looked at her and said, "Are you Kaguyaki?"
I admit, that's the one that knocked me through.
A Japanese high school student named after himself and stood behind a collective memory of 1,200 years. She did not kneel, was not afraid, but asked as she recognized an old friend. Myth was no longer in the museum at this moment, but fell into a rental house, into the uniform pocket of a convenience store, into the mess of Journal, an ordinary girl.
From then on, one writes songs, one sings. Colour leaves are for creation and production, and Kaguya is for performance and live broadcasting. Two people are in a little life, and they live in sweet and pyrotechnic conditions.
And this piece of music is actually written by ryo (subercell), kz (livetune), 40mP, HoneyWorks, yugot, Aqu3ra, all of Vocaloid producers who wrote Melt that year. For those of us who listen to the first song in front of the computer screen and grow up, it's not just a "good play" but their own adolescences are solemnly put on the screen. The songs that one person had been rehearsing in his room all those years, were really worth it.
iii. The most remarkable: not being taken away, coming back.
I don't want to go too far, but the true seal of the story is that it turns the wound of the original.
In the original book, Kaguyaji was taken away — the sky came and she had no choice.
In the movie, Kaguyaji came back on her own. Over the course of eight thousand years, they came back with their own initiative, their hearts and their hearts.
This change changed the nature of the whole story. It's no longer the moaning of beauty, but the "I prefer to keep." The slogan, "Foot!" sounds like a joke, and it's the softest response of the creator to the girl who cried and rose up 1,200 years ago.
What does it give the audience?
I've been thinking since I got out of the mood that this movie's good, not just "good."
It gives tired people a chance to be seen. She is not a chosen child. She is an average girl who is tired, sensitive, secretly abandons her song-writing dream and earns a living by fighting games. Very few people on the screen are seriously writing about girls like this -- not because she's not worth writing, but because everyone agrees that she's "not very dramatic." But the film told her that you deserve to be driven over 8,000 years.
It redefined the "virtual" thing. Many people are used to virtual space as an anaesthetic to avoid reality. But what happened in the Moon Read is true: the song is true, the tears are true, and the attachment of two people there is true. The screen is separated from the medium, not the heart. This is a very late name for young people who live in the digital age and are accused of being obsessed with the Internet.
It exemplifies a narrative that creates depth without harm. There was no misunderstanding in the whole picture, there was no misunderstanding, there was no renegade betrayal in order to incite passion, two girls cured each other, achieved each other, one from cowardice to firmness, and the other learned to be gentle. It proves that tenderness has power in itself, and it does not have to tear people apart to be deep. This, I think, is more difficult than any breakthrough at the Technology level.
It gives a classical way to live. The real legacy is not to give up the Tale of the Bamboo Cutter and recite it without changing it, but to meet it at an ordinary evening, like a leaf, and repeat it in its own way. The living proof of the story is never how complete it is to be preserved, but there are others who want to change it, to continue it and to give it a better end.
V. CONTEXT
The film was shown on 22 January on Netflix, and on 20 February on the restricted court line in Japan, mobilizing more than 310,000 times over 10 days and then expanding to more than 100 cinemas across the country. The data is good, but I think the other thing is more telling: a lot of people in the comment section say, "The Tale of the Bamboo Cutter."
That's the best place for it. It did not replace the original, it sent the reader back to the original.
One hundred and twenty years ago, the girl in her coat, forgotten the world and ascended to the sky, finally had an end in Tokyo in the twenty-first century. And those of us sitting on the screen are allowed to believe it once:
Some things can be retained.