This paper is aimed at discussing the last scene from the film Hana-bi. It depicts Nishi and Miyuki who stand near the sea and look at the girl playing with a kite. This clip is immediately followed by the suicide of the main characters.
One can say that this clip perfectly fits the climax of this movie because it shows that the protagonists are deeply attached to one another. However, at the same time, these people understand that they spend their last moments. This clip can throw light on formal elements and themes of this movie. This is one of the main aspects that can be distinguished.
There are several formal elements in this clip. First of all, the film-makers rely mostly on medium shots which enable them to capture the non-verbal behavior of Nishi and Miyuki. The viewers can see that these people lean on one another in a very relaxed manner.
These shots may last for more than ten seconds, but they are interrupted by images of a girl who flies a kite (Hana-bi). To a great extent, these shots are necessary because the authors want to portray the ideal family that Nishi and Miyuki could have if misfortunes had not struck them.
Apart from that, the images of nature play an important role in this sequence because they reflect the calm and reconciliation achieved by the main characters. Secondly, much attention should be paid to the role which music plays in this clip. It produces the impression of serenity on the viewers. However, one should also speak about the sound of two shots, and this element suggests that these people eventually commit suicide.
Furthermore, it is important to speak about the thematic elements of this clip. First of all, the film-makers focus on suicide which plays an important role in Japanese literature, art and cinematography (Davis 71). The authors show that the main characters choose to take their lives because in this way they can escape their suffering. Additionally, this choice enables them to capture a brief moment of happiness.
This is one of the main aspects that can be distinguished. Additionally, it is important to speak about the moral strength of both characters. These people are able to enjoy the last moments together, although they understand that very soon their lives will end.
This sequence is related to the film both formally and thematically. As it has been said before, the authors pair Nishi and Miyuki with the help of medium shots. However, the authors pair Nishi with other characters such as Horibe (Gerow 142). Moreover, this film explores some of the qualities that are valued in Japanese culture.
In particular, one should speak about people’s ability to bear hardships (Gerow 146). Thus, this clip can be viewed as an inseparable part of the film.
Moreover, this movie is related to some of the main principles on which Japanese cinematography is based. In particular, Japanese film-makers prefer not to describe certain tragic events. More likely, they want viewers to form their own conclusion about the decisions of the main characters or plot development (Richie 162).
Similarly, in this movie, the film-makers only indicate that Nishi and Miyuki could take their lives, but one cannot say for sure. Therefore, one can say that this clip can throw light on the techniques used by Japanese directors. This is why it is worth attention.
Works Cited
Davis, Darell. “Reigniting Japanese Tradition with Hana-Bi.” Cinema Journal 40.4 (2001): 55-80. Print.
Gerow, Aaron. Kitano Takeshi, London: British Film Institute, 2007. Print.
Hana-bi. Ex. Prod. Masayuki Mori. Tokyo: Nippon Herald Films. 1997. DVD.
Richie, Donald. A Lateral View: Essays on Culture and Style in Contemporary Japan, New York: Stone Bridge Press, 1988. Print.