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Couples can have strong bonds. In the spy thriller, “The Spy Who Dumped Me”, Claire (Alicia Silverstone) and her husband, Hank (Sam Heughan), have a strong bond, but that’s not enough for him to stay faithful to her.. Read more about wife of a spy netflix and let us know what you think.
Kiyoshi Kurosawa continues to branch out beyond his already diverse discography. Wife of a Spy, the renowned auteur’s latest film, takes a step back in time to create his first period piece set in early 1940s Japan. With films like his masterpiece Cure, he has already shown his ability to manipulate audiences, so an espionage thriller is an intriguing and natural method for him to push himself even further. In addition, Kurosawa co-wrote the screenplay with Tadashi Nohara and Rysuke Hamaguchi, two of the creative forces behind Hamaguchi’s acclaimed Happy Hour. Wife of a Spy follows Satoko Fukuhara (Y Aoi), who suspects that her merchant husband Ysaku (Issey Takahashi) and nephew Fumio (Ryota Bando) may be covertly working for the Allies after returning from Manchuria. Yasuharu Tsumori (Masahiro Higashide), an old buddy turned military squad commander, adds to the complications by suspecting the same thing.
Distance is a recurring subject in Kurosawa’s work, and it is prominent in Wife of a Spy. Satoko feels oddly disconnected from her spouse and questions her ability to trust him, much like the dysfunctional family in Tokyo Sonata or the lonely teens in Pulse. Ysaku is a self-described cosmopolitan who conducts business with non-Japanese customers and has apparent Western predilections. At a time when the Imperial government is increasing its hold on the Japanese people, everything from the clothing he wears to the whiskey he consumes is brazenly individualistic. Satoko has happily supported him in this, although her husband’s mainland trips seem to have altered him in some manner. His pro-Western views are so overt that he could not possible be a spy for them. Or is it possible that this is the ideal cover, allowing Ysaku to exchange silk as well as intelligence with foreigners?
The couple’s huge house enables for large chasms to form between them, which is exacerbated by Kurosawa’s frequent camera distance from his characters. The screenplay includes a playful reference to “Mizoguchi’s new film,” a nod not only to the film’s precise historical location, but also to the early Japanese master of long takes and mise-en-scene, skills Kurosawa has long used in his illustrious filmography. Wife of a Spy is no exception, with the dialogue-heavy screenplay frequently enabling the drama to play out uninterrupted. Kurosawa’s first collaboration with cinematographer Tatsunosuke Sasaki, who captures these moments beautifully with subtle but precise camera movement. The film’s overall aesthetic, on the other hand, has an anemic feel to it and is, by Kurosawa’s standards, quite boring. This is because in large part to the digital sheen produced by Sharp’s new 8C-B60A 8K camera, which captures the recreated 1940s with a degree of contemporary detail seldom seen and unmatched by the project’s enormous size.
Wife of a Spy was made for and aired on Japanese television before winning Kurosawa the Silver Lion at the 77th Venice International Film Festival (a prize he shared with Mizoguchi). Unfortunately, the production’s size and restricted venues represent the usual characteristics of such a production. Because the narrative is based on mystery rather than action, many events take place offscreen. This helps the picture fit within a television budget, but Ysaka gets so much screen time that much of the mystery around his character is lost. Despite Kurosawa’s strong directing in individual moments, especially when he is able to briefly return to his horror origins, the screenplay does not give him much opportunity to experiment with the film’s concept. Wife of a Spy soon abandons its original idea in favor of something less fascinating, excessively drawn out, and sprinkled with a few moments of perplexity.
Kurosawa allows his viewers plenty of time to get to know the Fukuharas, with the film clocking in at just under two hours. In their beautiful period-accurate costumes, Y Aoi and Issey Takahashi have excellent chemistry and can effortlessly transition from being believably in love and frighteningly serious. Even though the script’s needs seem abrupt and out of left field at times, Aoi sells some extremely tough character twists with zeal. Satoko makes a number of important choices throughout the story, but she loses a lot of her agency in the second half of the film, as she is often instructed what to do and when to do it. Nonetheless, the duo serves as an excellent vehicle for communicating the fundamental ideas of justice above nation and the courage to openly call out Japanese war crimes.
With Wife of a Spy, Kiyoshi Kurosawa has created a beautiful picture, but that is all it is. The split structure produces two good halves that might have been combined into one outstanding whole if the film had committed to one of its paths sooner. It’s great that it’s a female-driven World War II espionage and deception story, but it can’t help but seem like a lost chance for something more dramatic and powerful. The complicated patriarchal weight carried by a spy’s wife is sometimes mentioned, but the television film’s small array of characters leaves this dynamic mostly unexplored. Even though a basic understanding of the Pacific Theater of the war reveals the film’s second half’s outcome long before the credits roll, the interpersonal relationship of a fictional marriage set against the backdrop of impending national conflict is rife with potential that is not fully exploited. Kurosawa’s films are constantly simmering, but Wife of a Spy seems to have been taken off the fire just as things were getting hot.
Director Martin Campbell returns with his latest picture, the spy film, Wife of a Spy, starring Mark Strong, Rachel Weisz, Dominic West, and David Walliams.. Read more about wife of a spy watch online and let us know what you think.
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