Sbenny.com is trusted by 
Name of the movie you are reviewing: Tony Takitani
Tony Takitani
Review:
I have wanted to see Tony Takitani for a long time. Ever since the news that Haruki allowed Tran Anh Hung to make Norwegian Wood is actually because before that, there was a very good filmmaker from his work that made him regain confidence for directors who wanted to adapt their works. his products. And of course that movie is no different from Tony Takitani. Thanks to Tony Takitani, the process of Tran Anh Hung's permission to adapt the Norwegian Forest is much easier to breathe than his predecessor, Ichikawa Jun. That's enough for me to see Tony Takitani. Also, I really like this short story. I was planning to watch Tony Takitani before watching the Norwegian Forest as a basis for assessing who better adapted Haruki's work. I've downloaded Tony Takitani since about 2010. The movie has been in the computer ever since and I don't know why I didn't watch it. It is true that everything is predestined. Even if watching a movie or reading a book, thinking like I can control myself, it still feels like there is some invisible external force that makes me completely unable to take the initiative. Then today, one beautiful day I saw Tony Takitani - a movie 10 years ago.
Shocked is my general feeling about the movie. I did not expect to have a film that was both simple and strange, normal and yet very creative. I was fascinated from the first frame of Tony Takitani. At the beginning of the movie, the music sounded slowly with so many silences, there were intervals that lasted so long that I thought the music ended ... but no, after a few short seconds like that endless endless, the music continued. profane. On the background of the music is the image of the road surface turning close. The film begins with a close-up shot, we only know it is a road surface, we are lured to follow that pattern of surfing on that road for a long time. There is no middle ground for the audience to have a rough idea of how the surroundings are, the sidelines information has been omitted, only the road surface and we do not know what is the road surface of a road, of a city or town like. And the camera finally zoomed in on the hands covering the ground to build a boat. Those hands were that of a boy, there was a man's foot passing by, he paused a bit to look out of curiosity and went away, the boy was still not bothered - that was what the frame looked like. The next middle scene tells us. I really like the opening way like that, just that simple helps the audience know two basic information: one, Tony Takitani is a lonely boy; two, when he did something, he immersed himself in his world no matter what it was around. But it is not only knowing that viewers can feel it clearly: the opening angle only peeks through the close-up of the road surface for a long time on the background of music, so many interruptions give us a feeling. loneliness, concentrated in Tony's inner world.
I especially like the way Ichikawa Jun leads the story with dolly shots across the room after room, scene after scene, moment to moment. People using such dolly method are not few if not too many. The dolly scenes that Ichikawa used can also be easily seen in other films, but it was the way he arranged the dolly scenes together that was what felt different to me. As far as watching movies, I have never seen a movie before that has dolly scenes spread across many rooms and scenes like that. I admire Ichikawa because when he used dolly like that, it not only served as the transition effect but also made the viewer feel like he was backing away from an objective point of view to follow the story, not to take part in it. join directly with the character. The way to dolly through each room is almost the same as the flip of the album with pictures recording the milestones of each event in a person's life. Obviously from the beginning, Ichikawa also chose to tell the story as if he were telling a biography, so this method made perfect sense.
In addition, minimalism is also evident in Tony Takitani. I like the scenes where Eiko goes to buy clothes. In order to describe her addiction to her outfit, Ichikawa didn't need to take many angles to look at the unnecessary (already familiar) shopping scenes. He focused on turning her foot, changing her shoes in turn. Rhythm footsteps away. And just like that was enough to understand she had bought a lot of costumes. Having bought many new clothes to replace so many shoes. Just by showing viewers how the shoes she has changed, he makes the viewer see that she has bought a lot of different costumes.
The dialogue in Tony Takitani is minimized. Mostly, Ichikawa uses the guide outside the frameimage of an unfamiliar voice, a true objective narrator, neither Tony's voice, nor the voice of anyone in the story. Yet all are connected together. And the way Ichikawa chooses to connect is special: he lets the character speak on the words the narrator should have said. In a sense, at the outset I had the feeling that Ichikawa purposely made Tony Takitani look like a simple illustration movie: firstly, the fact that he put his voice outside the narrative frame too much; The second is right at the beginning of the story about the life of the father, he uses still images paired with storytelling makes it easy to feel like watching the power point slide show in a conference. I think usually, a director would be too afraid to repeat these tactics too much because it can give the viewer a feeling like watching a power point rather than watching a movie. Other narrative narratives by an objective narrator are also used by other films, but usually only appear in the introduction at the beginning of the film, the ending or some scenes are the turning point, moving into the stage. another of character life. Few people use this tactic as a key element to guide the story like Ichikawa. However, Ichikawa is clever in that he uses this tactic a lot but does not turn his movie into something that illustrates Haruki's literature - something that is very likely if he applies this tactic. Ichikawa can almost make people feel how much he appreciates what Haruki writes when with this method, he can use many of the words that Haruki wrote, and at the same time, he can still see the audience. his cinematic personality with characteristic frames. The first evidence of personality is the dolly frames that I mentioned above. Also, what makes me pay more attention is the way he dials the character's way. Usually in other films, no matter how the conversation is filmed, it is certain that eventually people will have the angle of rotation across their shoulders when the two characters sitting opposite each other talk, from one shoulder to the other will see the other person's face are talking and so forth. In the first scenes when Tony talked to Eiko, he did not turn over his shoulder like that. I just thought it was not the right time. During the 1 hour and 15 minute film like that, surely there must be a time when he returned to this classic way of shooting the two characters only. And my thought was wrong. I waited forever but didn't see that classic shooting. The entire film, when for Tony and Eiko to talk, he will let two people sit side by side rather than facing each other. At that time, he turned the faces of each person speaking rather than crossing his shoulders, typically as the second time they talked in the bar, Tony asked Eiko to reduce the purchase; or he shows the scene in the middle of the scene like Tony was proposing to Eiko. Even when the two characters sat facing each other on rare occasions, he did not use the tactics of turning his shoulders, but at that time, he only turned the face of one person speaking, seemingly separate from the other, typically. is the scene where Tony is just married to Eiko and although they sit opposite each other on the dining table, Tony speaks to the narrator himself, or when Tony watches his wife cleaning the car. So, what does the footage tell us? By deliberately not having the common shoulder-turning angle commonly used when two people are talking, Ichikawa succeeds in giving viewers the sense of loneliness each character in the story faces, seemingly. as they always monologue themselves, even if they are talking to someone, right next to their loved ones, they still have a private space, a loneliness that cannot be understood. , cannot share with the other.
The interaction between sound and images in Tony Takitani is also something to discuss. I especially liked the ticking of the clock he used in the two scenes. The clock was not too clear, nor too faint. The sound of the clock even sounded loudly, slowly, one by one, but the sound engineer made the sound seem to be dimmed so even though he heard the sound of the clock clearly, the viewer felt like The watch is not real, it is like a sound from some distance away or from the mind of each person. The first time that hour came, when Tony proposed to Eiko, he told her how lonely he was. On the bench of the night, watching the city engulfed in the golden light, amidst the silent waiting of Eiko's response, she would refuse or agree, that hour of time was heard. The second and last time she appeared, when Eiko died, Tony watered the cactus pot that she normally watered, placed the ashes and moved her image onto a closet, sitting. on the sofa opposite the platform and the white walls in front of her, with loneliness once again returning. That clock is a repetition and is also the end of a closed circle. For the first time, that hour came to mark Tony's life milestone: he would welcome a new life — a life without loneliness. The second time that hour appeared, it was also a milestone in Tony's life: he continued to be lonely, but it was no longer the loneliness returning to the beginning of the movie.
I still remember Wang Jiawei saying that he liked the contrast between sound and images. If a shot is on a slow tempo, he will use fast tempo music. If a shot is fast-paced, he will use slow-paced music. Something like that. He said the contrast between image and sound will create special effects. It's like a contradiction in the mood of a character. At Tony Takitani, Ichikawa did the same thing as Wang Jia. I loved the scene when Tony and Eiko sat and talked at the bar, Tony asking if Eiko could cut back on the costumes, Eiko said she couldn't stop it, as if she had been poison, it's like an addiction. A certain gap had crept in between them, a bad premonition and the close-up image of the dish from nowhere falling gradually to the ground was filmed at a very slow speed. Because of that, the scene was shot at a slow pace, as I watched the disc fall, I was looking forward to hearing the sound of the disc breaking to the ground. That is the usual reaction. Ichikawa planted that thought in his mind so that when the plate finished its journey of falling to the ground, there was absolutely no sound at all. The faces of the two were dazed and then immediately, he switched to the scene where the two were sleeping together; while Tony stroked Eiko's hair, she was still conscious of her promise to try to reduce the purchase of clothes. Even when I arrived at that scene, I was still a bit disappointed because I could not hear the sound of the broken disc from the previous scene. At this point, I completely absorbed what Wang Wei had said. Even when I read those things, I understood, but up to now, there has not been a scene that makes me fully feel the effect of creating the opposite of sound and images like that. What needs echo is not echoing and everything is calmly passed. What a strange feeling. In Tony Takitani, through this tactic, not only did Ichikawa describe the internal contradictions of the two characters, and when the disc fell without making a sound, he made the viewer feel vaguely wondered whether there really was a broken disc outside or was it just an abstract image taking place in the couple's mind that signaled their relationship was about to end. It was not letting the sound of the disc crash that made the sound deprive the feeling of reality in that scene.
In the end, the music of Sakamoto Ryuichi in the movie was amazing. The music he composed in the movie also seemed to carry the rhythm that Haruki conveyed in his short stories and novels. That kind of slow, vast jazz, lots of gaps and unexpected variations ... Now, I'm starting to regret not watching Tony Takitani before watching Norwegian Wood. If that was the case, I would have very different assessments of Tran Anh Hung's Norwegian Forest. Literally, I still prefer Norwegian Wood to Tony Takitani. But in terms of film, I realized I liked Tony Takitani more than the Norwegian Forest. When I finished watching the movie, I smiled because I finally understood why Haruki regained confidence in the directors who wanted to adapt his work, with his work being completely reinterpreted in electrical language. photos in a beautiful way. I believe that if the director, if every member of the crew is serious, passionate about his work, surely cinema can reach the threshold that makes viewers get subtle vibrations, weaving into each and every nook and cranny in the soul of each person the same way an excellent literary work normally does.
Would you recommend this to other users? Yes
Rating(1-5):
Tony Takitani
Review:
I have wanted to see Tony Takitani for a long time. Ever since the news that Haruki allowed Tran Anh Hung to make Norwegian Wood is actually because before that, there was a very good filmmaker from his work that made him regain confidence for directors who wanted to adapt their works. his products. And of course that movie is no different from Tony Takitani. Thanks to Tony Takitani, the process of Tran Anh Hung's permission to adapt the Norwegian Forest is much easier to breathe than his predecessor, Ichikawa Jun. That's enough for me to see Tony Takitani. Also, I really like this short story. I was planning to watch Tony Takitani before watching the Norwegian Forest as a basis for assessing who better adapted Haruki's work. I've downloaded Tony Takitani since about 2010. The movie has been in the computer ever since and I don't know why I didn't watch it. It is true that everything is predestined. Even if watching a movie or reading a book, thinking like I can control myself, it still feels like there is some invisible external force that makes me completely unable to take the initiative. Then today, one beautiful day I saw Tony Takitani - a movie 10 years ago.
Shocked is my general feeling about the movie. I did not expect to have a film that was both simple and strange, normal and yet very creative. I was fascinated from the first frame of Tony Takitani. At the beginning of the movie, the music sounded slowly with so many silences, there were intervals that lasted so long that I thought the music ended ... but no, after a few short seconds like that endless endless, the music continued. profane. On the background of the music is the image of the road surface turning close. The film begins with a close-up shot, we only know it is a road surface, we are lured to follow that pattern of surfing on that road for a long time. There is no middle ground for the audience to have a rough idea of how the surroundings are, the sidelines information has been omitted, only the road surface and we do not know what is the road surface of a road, of a city or town like. And the camera finally zoomed in on the hands covering the ground to build a boat. Those hands were that of a boy, there was a man's foot passing by, he paused a bit to look out of curiosity and went away, the boy was still not bothered - that was what the frame looked like. The next middle scene tells us. I really like the opening way like that, just that simple helps the audience know two basic information: one, Tony Takitani is a lonely boy; two, when he did something, he immersed himself in his world no matter what it was around. But it is not only knowing that viewers can feel it clearly: the opening angle only peeks through the close-up of the road surface for a long time on the background of music, so many interruptions give us a feeling. loneliness, concentrated in Tony's inner world.
I especially like the way Ichikawa Jun leads the story with dolly shots across the room after room, scene after scene, moment to moment. People using such dolly method are not few if not too many. The dolly scenes that Ichikawa used can also be easily seen in other films, but it was the way he arranged the dolly scenes together that was what felt different to me. As far as watching movies, I have never seen a movie before that has dolly scenes spread across many rooms and scenes like that. I admire Ichikawa because when he used dolly like that, it not only served as the transition effect but also made the viewer feel like he was backing away from an objective point of view to follow the story, not to take part in it. join directly with the character. The way to dolly through each room is almost the same as the flip of the album with pictures recording the milestones of each event in a person's life. Obviously from the beginning, Ichikawa also chose to tell the story as if he were telling a biography, so this method made perfect sense.
In addition, minimalism is also evident in Tony Takitani. I like the scenes where Eiko goes to buy clothes. In order to describe her addiction to her outfit, Ichikawa didn't need to take many angles to look at the unnecessary (already familiar) shopping scenes. He focused on turning her foot, changing her shoes in turn. Rhythm footsteps away. And just like that was enough to understand she had bought a lot of costumes. Having bought many new clothes to replace so many shoes. Just by showing viewers how the shoes she has changed, he makes the viewer see that she has bought a lot of different costumes.
The dialogue in Tony Takitani is minimized. Mostly, Ichikawa uses the guide outside the frameimage of an unfamiliar voice, a true objective narrator, neither Tony's voice, nor the voice of anyone in the story. Yet all are connected together. And the way Ichikawa chooses to connect is special: he lets the character speak on the words the narrator should have said. In a sense, at the outset I had the feeling that Ichikawa purposely made Tony Takitani look like a simple illustration movie: firstly, the fact that he put his voice outside the narrative frame too much; The second is right at the beginning of the story about the life of the father, he uses still images paired with storytelling makes it easy to feel like watching the power point slide show in a conference. I think usually, a director would be too afraid to repeat these tactics too much because it can give the viewer a feeling like watching a power point rather than watching a movie. Other narrative narratives by an objective narrator are also used by other films, but usually only appear in the introduction at the beginning of the film, the ending or some scenes are the turning point, moving into the stage. another of character life. Few people use this tactic as a key element to guide the story like Ichikawa. However, Ichikawa is clever in that he uses this tactic a lot but does not turn his movie into something that illustrates Haruki's literature - something that is very likely if he applies this tactic. Ichikawa can almost make people feel how much he appreciates what Haruki writes when with this method, he can use many of the words that Haruki wrote, and at the same time, he can still see the audience. his cinematic personality with characteristic frames. The first evidence of personality is the dolly frames that I mentioned above. Also, what makes me pay more attention is the way he dials the character's way. Usually in other films, no matter how the conversation is filmed, it is certain that eventually people will have the angle of rotation across their shoulders when the two characters sitting opposite each other talk, from one shoulder to the other will see the other person's face are talking and so forth. In the first scenes when Tony talked to Eiko, he did not turn over his shoulder like that. I just thought it was not the right time. During the 1 hour and 15 minute film like that, surely there must be a time when he returned to this classic way of shooting the two characters only. And my thought was wrong. I waited forever but didn't see that classic shooting. The entire film, when for Tony and Eiko to talk, he will let two people sit side by side rather than facing each other. At that time, he turned the faces of each person speaking rather than crossing his shoulders, typically as the second time they talked in the bar, Tony asked Eiko to reduce the purchase; or he shows the scene in the middle of the scene like Tony was proposing to Eiko. Even when the two characters sat facing each other on rare occasions, he did not use the tactics of turning his shoulders, but at that time, he only turned the face of one person speaking, seemingly separate from the other, typically. is the scene where Tony is just married to Eiko and although they sit opposite each other on the dining table, Tony speaks to the narrator himself, or when Tony watches his wife cleaning the car. So, what does the footage tell us? By deliberately not having the common shoulder-turning angle commonly used when two people are talking, Ichikawa succeeds in giving viewers the sense of loneliness each character in the story faces, seemingly. as they always monologue themselves, even if they are talking to someone, right next to their loved ones, they still have a private space, a loneliness that cannot be understood. , cannot share with the other.
The interaction between sound and images in Tony Takitani is also something to discuss. I especially liked the ticking of the clock he used in the two scenes. The clock was not too clear, nor too faint. The sound of the clock even sounded loudly, slowly, one by one, but the sound engineer made the sound seem to be dimmed so even though he heard the sound of the clock clearly, the viewer felt like The watch is not real, it is like a sound from some distance away or from the mind of each person. The first time that hour came, when Tony proposed to Eiko, he told her how lonely he was. On the bench of the night, watching the city engulfed in the golden light, amidst the silent waiting of Eiko's response, she would refuse or agree, that hour of time was heard. The second and last time she appeared, when Eiko died, Tony watered the cactus pot that she normally watered, placed the ashes and moved her image onto a closet, sitting. on the sofa opposite the platform and the white walls in front of her, with loneliness once again returning. That clock is a repetition and is also the end of a closed circle. For the first time, that hour came to mark Tony's life milestone: he would welcome a new life — a life without loneliness. The second time that hour appeared, it was also a milestone in Tony's life: he continued to be lonely, but it was no longer the loneliness returning to the beginning of the movie.
I still remember Wang Jiawei saying that he liked the contrast between sound and images. If a shot is on a slow tempo, he will use fast tempo music. If a shot is fast-paced, he will use slow-paced music. Something like that. He said the contrast between image and sound will create special effects. It's like a contradiction in the mood of a character. At Tony Takitani, Ichikawa did the same thing as Wang Jia. I loved the scene when Tony and Eiko sat and talked at the bar, Tony asking if Eiko could cut back on the costumes, Eiko said she couldn't stop it, as if she had been poison, it's like an addiction. A certain gap had crept in between them, a bad premonition and the close-up image of the dish from nowhere falling gradually to the ground was filmed at a very slow speed. Because of that, the scene was shot at a slow pace, as I watched the disc fall, I was looking forward to hearing the sound of the disc breaking to the ground. That is the usual reaction. Ichikawa planted that thought in his mind so that when the plate finished its journey of falling to the ground, there was absolutely no sound at all. The faces of the two were dazed and then immediately, he switched to the scene where the two were sleeping together; while Tony stroked Eiko's hair, she was still conscious of her promise to try to reduce the purchase of clothes. Even when I arrived at that scene, I was still a bit disappointed because I could not hear the sound of the broken disc from the previous scene. At this point, I completely absorbed what Wang Wei had said. Even when I read those things, I understood, but up to now, there has not been a scene that makes me fully feel the effect of creating the opposite of sound and images like that. What needs echo is not echoing and everything is calmly passed. What a strange feeling. In Tony Takitani, through this tactic, not only did Ichikawa describe the internal contradictions of the two characters, and when the disc fell without making a sound, he made the viewer feel vaguely wondered whether there really was a broken disc outside or was it just an abstract image taking place in the couple's mind that signaled their relationship was about to end. It was not letting the sound of the disc crash that made the sound deprive the feeling of reality in that scene.
In the end, the music of Sakamoto Ryuichi in the movie was amazing. The music he composed in the movie also seemed to carry the rhythm that Haruki conveyed in his short stories and novels. That kind of slow, vast jazz, lots of gaps and unexpected variations ... Now, I'm starting to regret not watching Tony Takitani before watching Norwegian Wood. If that was the case, I would have very different assessments of Tran Anh Hung's Norwegian Forest. Literally, I still prefer Norwegian Wood to Tony Takitani. But in terms of film, I realized I liked Tony Takitani more than the Norwegian Forest. When I finished watching the movie, I smiled because I finally understood why Haruki regained confidence in the directors who wanted to adapt his work, with his work being completely reinterpreted in electrical language. photos in a beautiful way. I believe that if the director, if every member of the crew is serious, passionate about his work, surely cinema can reach the threshold that makes viewers get subtle vibrations, weaving into each and every nook and cranny in the soul of each person the same way an excellent literary work normally does.
Would you recommend this to other users? Yes
Rating(1-5):
