The Japanese reasoning film “witness” is a foreign film I like very much. This is not because of its tortuous reasoning and the wide space and time from Japan to the United States in the past 30 years after the war. What I like is the film director’s deliberate pursuit of its internal philosophical meaning and deep pain and compassion for the injustice and suffering in human life and the current world. All this is expressed through the heroine Yasukuni’s humiliating past life experience, her subsequent rise, and the tragic experience of her last self destructive life.
Unlike most viewers, I do not try my best to condemn the heroine Yasukuni, who personally killed her own black son, in terms of morality and character, because I think this is not the original intention of the film author and film director to write and shoot this work. It should be said that Yasukuni is not a woman who only unilaterally pays for vanity and flashiness, but is cruel and cruel; It should be said that she is a character with a complex outlook on life and a split dual character. She has her own compassionate side that has experienced the bitter fruits of racial discrimination and national oppression, as well as the spiteful side that discriminates against her semi alien and semi alien black son once she is condescending. The reason for the latter was that she was afraid that the bitter life that had brought her humiliation and loss of human dignity in the wartime years would reappear in her mind. She cherishes the new and gorgeous lifestyle she has created and won with her hard work, but mainly cherishes her truly humane social status recognized and respected by the surrounding world. All these are the beautiful side of human nature expressed by a person’s right to pursue his due happiness in life. However, the dialectics of history and life makes the film present a new cruel fact in front of it, which makes her have to make an either or choice: a black son who has become a past and a strange intruder, or a self complacent, singing and dancing life, wealth, artistic and commercial social career she has been used to? In a twinkling of an eye, Yasuko Yasukuni made, or her limited social status and social environment, so that she had to make a wrong choice – kill the former and preserve the latter. However, it was an irreparable wrong choice, a sinful choice – which led to the final destruction of her life, including everything cherished for her.
Before the destruction, Yasukuni realized, but it was too late. The moving part of the film is to reveal the contrast between Yasuko Yasukuni’s inhuman and cruel crime (but not caused at the moment) and the final human “Conscience Discovery” remorse and self blame.
Yasuko’s tragic life experience in the past determines that she will awaken in the face of cruel facts. I like listening to Yasuko’s long period of self condemnation, self remorse and regret, which cast a wrong and moving soul, when she learned that both her sons were dead at the ceremony of awarding awards for her fashion design and fell into uncontrollable despair that really came from her inner sorrow. Ba Shan once again recited the “straw hat” poem of Xitiao 80, which used to express the love between husband and wife and the love between mother and son in those years – on the way from the ice to the fog, a gust of wind blew, and the child lost the straw hat his mother bought him and loved him so much; It flew to the mountain stream under the cliff and will never come back. The child is calling his mother, and the child is repeatedly telling his mother the heartache of losing his straw hat with regret, regret and remorse. Anyone, including myself, will have the irreparable regret of losing something they love forever because of their own reasons when they were a child – although their parents comforted and promised to buy the same thing again, I can’t compensate for the infinite traumatic loss in my heart – and Xitiao 80’s “straw hat” poem conveys such a real sad mood. It is closely related to the film’s heroine Yasuko Yasukuni’s mood of losing her son forever. Yasugi Kyoko’s final remorse and self accusation expressed in the movie with “straw hat” poems are the most important part of the film, and also a collection point of the true meaning of the original author of the film and the intention of the film director. Yasuko’s self repentance and even suicide show and prove the final resurrection of human nature in her. This is the positive significance of Yasukuni’s tragedy of self destruction.
Therefore, the film author obviously expects that people should not only blame Yasukuni. The war of human killing each other, the estrangement and exclusion of mutual distrust among the races of white, yellow and black, the discrimination and oppression of white people against people of color, and even the discrimination and oppression of men against women, the root of the traditional customs of unequal social relations among mankind, are the real goals to be condemned by the film. Until today, the ultimate cause of this inhuman tragic conflict among human members has not been eliminated, nor can it be eliminated by the efforts of one or two generations of human beings. However, all just and humane people in mankind will strive to gradually eliminate it. Human beings will eventually rise up by themselves to overcome all the inhumane humiliation and the evil of traditional customs. This may be the proof that human beings will eventually show that they still have human nature. Undoubtedly, this is the realistic and far-reaching internal philosophical meaning of the film “witness”, and the moral of the title of the film “witness”.