茶之味

    喜欢上那个老头，一开始还觉得神经兮兮的，不过越看越可爱了！确实，我是看到他死之后留下给全家人画的漫画才感动的，一个人一生到老还能给别人带来快乐，并且自己也是快乐的，那他活得真值了！还死得那么安静干脆，一点不拖泥带水，给家人添麻烦，真是值得敬佩！换一个角度，《茶之味》所诠释的对生命的态度也是我欣赏的，人死了不需要用悲伤来纪念，而是快乐、积极、健康地生活，以此足以告慰亡灵。
    《茶之味》的山野风光、花香鸟语真是令人心旷神怡，也仿佛让我回到了童年时光，那是最自由、快乐的时光…… 的确，那种感觉也是在城市里所无法感受到的，心胸的豁然恬静，人与自然的融合…… 有时间还是多走走乡村比较好。
    日本人真是极富幻想，从小到老，人人都有一个幻想世界，猜不透，也许这样心态会比较好，保持童贞，保持开心，永远都像那个小女孩儿一样无邪地快乐。
    片尾曲很清新，跟电影很搭，中间他们表演的那首生日歌也还不错！浅野中信的表演有所改变，难得出演这样清新的电影，跟昔日女友那段会面好尴尬好傻哦（笑）。

还记得和MM一起在宿舍里一个人守一个窗户看了整整一下午的雨。

还记得MM给我email说在英国有大段的时候是躺在草坪上看云。

幸福的滋味应该就是这种悠然自得。

慢慢的看电影，回味起那些曾经的在路上看风景的时刻，被感动、被荡悸。

我喜欢那个古怪的爷爷给每个人画的画册。

被初恋狠狠打动

既然故事是从家里的长子，春野的奔跑开始，我也就从他开始说起。春野喜欢的女孩坐火车走了，春野徒劳的在田间追着，他很后悔从来没有跟她说过话。春野想，如果他有机会表白的话，也许会不一样吧。一想到这些就使他更加悔恨。随后的几件小事更让他对异性失去了兴趣，但是当他坐在教室里第一次看到转校生铃石的时候，他知道，他的春天来了。
　　　　
　　这是他第一次对一个姑娘表示他爱她。他所爱的人刚巧也爱他，这也是第一次。他所爱的人也爱他，想必也是极普通的事情，但是对于身当其境的人，却好象是千载难逢的巧合。 ——张爱玲，《半生缘》
　　　　
　　我想每个人都有过这种感觉，恋爱时的两个人会为了共同喜欢一首歌，一本书，一个人，在上学时甚至是因为有一样的解题思路而狂喜而而雀跃而兴高采烈，仿佛两个人就此打下了相伴一生的基础。
　　　　
　　当春野知道铃石喜欢他所擅长的围棋时，狂喜的他觉得他突然获得了无穷的力量，那力量足以征服整个世界。可是内向的他并没有和她说过一句话，只是和以前一样远远的默默的关注着她。就算是误打误撞而被拉入铃石先他加入的围棋社，他也没和铃石有过任何交流，两个同班同学却形同陌路，春野深深的埋藏着自己的感情。
　　　　
　　直到那个雨天，围棋社其他同学走了，只剩铃石一个人在摆弄棋子，春野走进来才发现这里没有其他人，他转身拉门就要走……想象一下，一个早就在心里喜欢对方到不行的人，有自己最擅长的优势，面对屋子里只有意中人这样的局面，仍然毫不犹豫的转身就要离去，这是一种什么样的境界？……还好铃石大大方方地叫住了他，请他一起下一盘棋。
　　　　
　　两个人慢慢的下着棋子，春野下了有八、九个子了，不经意似的慢慢说道：“…嗯…我…我的理想其实就是能和你这样每天下棋…”两个人都还在继续下棋，过了一会儿，铃石也慢慢的说，“那我们明天还下…”春野咧开嘴笑着说，“好…”这样的平淡的对话，听来却比各种的山盟海誓要美丽；又像于无声处听惊雷，让人惊心动魄。
　　　　
　　接下来的一幕，是我看过描写初恋最美的镜头：雨中两个人打着一把伞，春野把铃石送到车站，在车门关上的一瞬间，春野突然把伞从门缝扔给了车上的铃石…那种突然，就像刚才突然的表白，带着冒失的真心诚意，格外动人。铃石看着雨中的春野身形渐渐被车抛得远去，他一边向她挥手，一边脸上露出开心之极的笑容…这就是最美的初恋，就像春天的草，不知道什么时候长出来的，也不知道为什么会长得那么快那么茂盛，那样的有生命力。这里没有任何心机和利益，只有幸福的付出和幸福的承受，太美了。
　　　　
　　片子里的主角是一家人，不光是春野，还有行为怪异的爷爷留下了感人至深的遗物，一本他手绘的全家成员的画册；爸爸是个尽职爱家的催眠心理医生；妈妈是个有才华有担当的漫画作家；小有名气的做音乐的叔叔心里还是装着已嫁作人妻的前女友；怪异性格讨人嫌的舅舅五音不全却对音乐始终怀有理想；因为听了叔叔的鬼故事从此幻想身边有个巨大的自己，而想尽一切办法想让幻象消失的执着的小妹妹……我就不一一讲述了。
　　　　
　　风趣，幽默的茶之味，充满了浓浓的情感，谢谢你，导演石井克人，这么有爱。

The Taste of Tea is one of those films that audiences need to wait until the last minute to be able to obtain the message from the director. In other words, Katsuhito Ishill used a plot to arrange what was going to happen and what the connections were between the characters when setting an agenda.

The director’s plot to emphasize family relationships can be recognized in this film. Through out the process of the film, it seemed that the family members were only into their own worlds and there were no obvious intersections between each others: Yoshiko (mother) was busy of making her return to an animation career; Hajime (son) was falling in love with Tsuchiya; Sachiko (daughter)’s attention was on her back flip practices; however, in the end, when the director’s message was released, we saw the impacts that these individual family members had made to each other: the eccentric grandpa inspired Yoshiko’s creation of animation; uncle’s help made grandpa’s dream of singing came true; last not the least, the art album that grandpa produced for the whole members – they might not look like a close family, but likewise every family, they truly cared and tried to encourage each other from the bottom of the heart.

Individualism is another terminology that the director used in the making of this film. Characters in The Taste of Tea were living in the north of Tokyo, mainly having a life that was very different from the life style of city people, therefore, it is arguable to say their lives were a little boring. Despite this, Ishill let everybody show plenty of individualism which defined a crucial capitalism value – even the lest recognizable individual shins. The behaviours of grandpa might be very unreasonable, but he used those inspirations in his music video; the two guys wore wired animation outfits in the train; the baseball played who were training besides the river; the director operated numerous of little stories which might not make significant sense at explaining the story line, nevertheless, it is clear enough that a plot was used by Ishill to identify the simple value and worthiness of a human being.

The editing style in The Taste of Tea is something worth paying attention to. The editor did not do a job of cutting scenes tidy and frequently. In fact, abundant of long scenes appeared in the film to define a notion of the peaceful lives lived by the family and many others in the film. The most noticeable one in this category was the scene that the family was sitting in the living room and drinking teas, which occurred several times. Also, the similar editing style was shown in the scene that Hajime and Tsuchiya were playing chests (that scene lasted more than 2 minutes). I would put this film to the category of light comedy, where not many apparent “fun” scenes were found, but its funniness did offer somewhat philosophies. To me, The Taste of Tea was making a sound saying, life is just like the taste of the tea, which we are able to find in every corner of the world.