In no time he was introduced to the budding kabuki artist at the center of Lee Sang-il’s Japanese hit film. That’s itthe character gives his opinion in his own way: .“Your beautiful face can eat you.” These words, accompanied by the envious gaze of everyone in the kabuki scene as Kikuo thrusts himself into the realm of traditional theater, are the ones that come to define his career as a kabuki actor.
It goes beyond Ryo Yoshizawa’s lovely face, but the way he acts both to the audience and to the camera itself, his emotions surpass the kumadori makeup these actors wear. Through his legend and all the ways people around him want to get his work out, we are given a glimpse into the world of kabuki and all the drama and history that comes with it.
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Rather than spending any of its three hours giving a crash course in the art of kabuki, That’s it economically it presents the basics of how Kikuo’s teacher, Hanjiro Hanai (played by Ken Watanabe), gives lessons to his students, along with short captions that explain the episodes of each play. This allows the viewer to make his or her own thematic connections to the cohesive narrative. That narrative spans decades, from 1960to this day, by getting close to one man’s journey through the years and everything he has to overcome to share his creativity with the world.
In many ways, That’s it a motion picture made in the past, which is perhaps best described as its description A Star is Born. The lives and careers of existing kabuki performers – Kikuo, his rival Shunsuke (Ryusei Yokohama) and various old masters whose studies often fall on deaf ears – are what Lee focuses on, rather than the art form itself. And while all the changes are open A star.‘The formula was created at a certain time, which is very interesting about it That’s it the way it moves through an extended period of Japanese history, embedding one in the culture without feeling the need to explain its appeal.
Satoko Okudera’s script tends to have painful beats with characters explaining their actions to an audience that doesn’t seem to be able to process visual cues (such as the loud music that punctuates multiple times) and sometimes feels at odds with Lee’s direction. Selling the audience on a sacrifice art form is the key to this type of film and Lee sells it in vivid colors, with the various productions that Kikuo and Shunsuke star in, and the repetition Love Suicides at Sonezaki again The Hero’s Maiden which is the key to its emotional success.
These scenes give weight to everything in it That’s itfrom Kikuo’s closeness to the other – itself based on the legitimacy of his lineage (with no father figure) as opposed to equating playing as a woman with bullying – to a broken but oppressive relationship at their core. All the news, death, enmity and dinner theater in the world could not stop a man like Kikuo. How he navigates all that to prove himself as the biggest star is nothing short of amazing.
