From the movie in the premiere Baku Kinoshita, , , , , The last blossomvery different from his series Strange taxiit is obvious that this person likes to show a hidden human shell crack. In this case, it is the stoic Yakuza Minoru Akutsu, who was first shown in prison at the end of his life. Despite the large scars and blocky features on the sides of his face, he is portrayed as a rather gentle and considerate guy. And, among all things to take advantage of this vulnerability, is a touch of speaking-I am not a balm flower.
Potted plants – the last flowering in name – are Akutsu’s only company in his prison, which is contained in old food jars. It speaks in a harsh tone, mocking Akutsu’s past mistakes, mostly around his complex relationship with Nana and her child Kensuke. Back in the 1980s, Akutsu lived while “protecting money and selling”, bringing the two into his house, a modest but comfortable place in the hills outside the city. The single mother and son can be seen almost immediately like Akutsu’s family, but despite how much affection he does show, the classic Yakuza perseverance and manners keep him far away. His later financial success only increased distance.
Today, he almost immediately admitted that he had never been totally brave enough to admit to Nana that he loved her and that he had never directly gone to Kensuke as a son, so every journey back to the past was filled with melancholy melancholy. Much of this sadness is broken by the funny little barbs of the annoying flowers. It was almost like a visualization of Akusu’s inner voice to accuse him of every regret he recalled for him.
The plant stands out in the more natural approach to the rest of the film – not only because it speaks, but also how it bounces up like a Disney version of magical decoration beauty and the Beast. On the surface, this sounds like the soft tone contradiction of the rest of the movie, but it works. If anything, it might be hard to stand the movie without those gallows humor.
in spite of, The last blossomis a low-key introspective work. Kinoshita’s artwork emphasizes this feeling – his stylized character design is reserved and economical, and he emphasizes stillness on the film’s storyboard. Just like the current constant condemnation of Akutsu’s touch of my flowers, it feels like The last blossom It’s very sensitive to touch. The score is made with light hands – most of the instruments that are stripped back to woodwind instruments, which cannot be stopped. screenwriter Kazuya Konomoto Amid the family bubble, a rather classical crime story makes the final invasion of Yakuza politics even more shocking. Kinoshita and the artist complement this by producing designs that play a desire for nostalgia in past scenes. This is through the use of its colors, even how the editing of the film draws attention to small embarrassing details, such as baseball games played on TV, like the buzzing Ben E. King.
These memories are drawn to Akutsu so sacred without exaggerating its sacredness, which makes the inevitable gut strike later make it even more devastating. Even his talent felt miserable, and his love of sketching places and people and creating detailed maps of the area felt like a glimpse of alternative roads he could have traveled. But he chose this one, and Kinoshita’s film found great sadness in accepting this, and probably not a waste of life.
