midnighteye
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Farewell to the irretrievable Youth
Iwai Shunji was an idol in the movie industry in the 1990s. The young people were obsessed with the beautiful and romantic "Love Letter", "April Story", and "Flower and Alice". The alternative personality was in love with the dark and
In the movie, Matsuko pretended to be her deceased elder sister by mistake, and began a correspondence conversation with Masaharu Fukuyama, the senior who had a crush in high school, which was interesting and a little romantic. After that, the senior's reply inadvertently fell into the hands of his niece Hirose Suzu, and the two generations began to remember and interpret the past.
Regarding the goddess-like sister, except for the memory clips from the high school period, they are all presented in the way of narration by others, just like the male version of "Love Letter". The image of the deceased is pieced together in the memory, without grief or even sadness, as light as daily life, as if tragedy is life.
Some people say that the Chinese version on the contrary, I feel that the mediocrity presented by in the japanese version (I wonder if it deliberately) fits the soul of the character. The humble sister is destined to be the outsider of the story. She humbly looked up at her goddess-like sister in the dark, and could not even feel jealous or feeling sad. She could only take it for granted, smiling and blessing.
Fukuyama Masaharu’s senior interpretation is the same. Is it because he is a novelist because he is so talented that he cannot give up, or is it because of a sentence from his crush? Only one book has been published in half of his life, and people struggle to remember their first love in middle age, not necessarily because of love, but to find and achieve oneself. He is essentially no different from Toyokawa Etsuji, who was loved by others in order to become the "number one man" in college.
Love is incomprehensible, and the goddess falling in love with the prodigal son is also a law. The characters in the movie always sigh, if the sister chooses Fukuyama Masaharu who seems to be obsessed with her, will the ending be different? But moths fighting the fire are fate, saying "if" is nothing but self-comfort of human wishful thinking.
It’s as beautiful as a dream, it’s like a photo album
My interpretation may be cruel, but Shunji Iwai is even more cruel. He specially invited Toyokawa Etsuji and Nakayama Miho to perform guest roles in cynical scum and vulgar pregnant women, and completely shattered the fantasies once held by the public.
The director is still a superstitious star. Matsuko and Masaharu Fukuyama, together with Hirose Suzu and Kamiki Ryunosuke, are all the best first-class stars in Japan today. Kamiki Ryunosuke has the strongest acting skills in the new generation, but he in the movie reminds me of Takashi Kashiwahara, whom I haven't seen in the movie for a long time. The two contrasted and eclipsed. It turns out that the last beautiful boy in Japan is irreplaceable.
Iwai's works are still beautiful, and they are like a photo album. I like the scene of two young girls holding a big dog holding an umbrella most. Masaharu Fukuyama uses the lens to capture it, and what freezes is his irreparable youth.
"Love Letter" highlights the miss, but everything in "The Last Love Letter" is a free will choice, not a love triangle, even regret. Many people criticized "The Last Love Letter" as "not touching enough", I think it is normal, and even suspect that the director deliberately did it. Iwai was a 32-year-old lightly mature man when he filmed "Love Letters". He is 57 years old this year, of course his mood is different. There is no longer a "love letter" reluctance to let go of the obsession, even facing death is indifferent.
The fierce throbbing that shouted "How are you? I'm fine!" at the white snow was gone 25 years later. It's just a pair of middle-aged men and women who cannot love each other, and they meet each other by chance many years later. I remembered that I used to think that there were countless options, I used to believe that the future has unlimited possibilities, but the reality before me is not as expected.
Although the past is unforgettable, after all, you must hide it in your heart, or smile bitterly or smile, and continue on the road.
To be alive, that's all about it.
In the movie, Matsuko pretended to be her deceased elder sister by mistake, and began a correspondence conversation with Masaharu Fukuyama, the senior who had a crush in high school, which was interesting and a little romantic. After that, the senior's reply inadvertently fell into the hands of his niece Hirose Suzu, and the two generations began to remember and interpret the past.
Regarding the goddess-like sister, except for the memory clips from the high school period, they are all presented in the way of narration by others, just like the male version of "Love Letter". The image of the deceased is pieced together in the memory, without grief or even sadness, as light as daily life, as if tragedy is life.
Some people say that the Chinese version on the contrary, I feel that the mediocrity presented by in the japanese version (I wonder if it deliberately) fits the soul of the character. The humble sister is destined to be the outsider of the story. She humbly looked up at her goddess-like sister in the dark, and could not even feel jealous or feeling sad. She could only take it for granted, smiling and blessing.
Fukuyama Masaharu’s senior interpretation is the same. Is it because he is a novelist because he is so talented that he cannot give up, or is it because of a sentence from his crush? Only one book has been published in half of his life, and people struggle to remember their first love in middle age, not necessarily because of love, but to find and achieve oneself. He is essentially no different from Toyokawa Etsuji, who was loved by others in order to become the "number one man" in college.
Love is incomprehensible, and the goddess falling in love with the prodigal son is also a law. The characters in the movie always sigh, if the sister chooses Fukuyama Masaharu who seems to be obsessed with her, will the ending be different? But moths fighting the fire are fate, saying "if" is nothing but self-comfort of human wishful thinking.
It’s as beautiful as a dream, it’s like a photo album
My interpretation may be cruel, but Shunji Iwai is even more cruel. He specially invited Toyokawa Etsuji and Nakayama Miho to perform guest roles in cynical scum and vulgar pregnant women, and completely shattered the fantasies once held by the public.
The director is still a superstitious star. Matsuko and Masaharu Fukuyama, together with Hirose Suzu and Kamiki Ryunosuke, are all the best first-class stars in Japan today. Kamiki Ryunosuke has the strongest acting skills in the new generation, but he in the movie reminds me of Takashi Kashiwahara, whom I haven't seen in the movie for a long time. The two contrasted and eclipsed. It turns out that the last beautiful boy in Japan is irreplaceable.
Iwai's works are still beautiful, and they are like a photo album. I like the scene of two young girls holding a big dog holding an umbrella most. Masaharu Fukuyama uses the lens to capture it, and what freezes is his irreparable youth.
"Love Letter" highlights the miss, but everything in "The Last Love Letter" is a free will choice, not a love triangle, even regret. Many people criticized "The Last Love Letter" as "not touching enough", I think it is normal, and even suspect that the director deliberately did it. Iwai was a 32-year-old lightly mature man when he filmed "Love Letters". He is 57 years old this year, of course his mood is different. There is no longer a "love letter" reluctance to let go of the obsession, even facing death is indifferent.
The fierce throbbing that shouted "How are you? I'm fine!" at the white snow was gone 25 years later. It's just a pair of middle-aged men and women who cannot love each other, and they meet each other by chance many years later. I remembered that I used to think that there were countless options, I used to believe that the future has unlimited possibilities, but the reality before me is not as expected.
Although the past is unforgettable, after all, you must hide it in your heart, or smile bitterly or smile, and continue on the road.
To be alive, that's all about it.
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