![オンリー・ゴッド スペシャル・コレクターズ・エディション [Blu-ray]](https://m.media-amazon.com/images/I/71JZBNrACCL.__AC_SX300_SY300_QL70_ML2_.jpg)
![オンリー・ゴッド スペシャル・コレクターズ・エディション [Blu-ray]](https://images-fe.ssl-images-amazon.com/images/I/71Lln4ZTb3L._AC_UL160_SR160,160_.jpg)
![ネオン・デーモン [Blu-ray]](https://images-fe.ssl-images-amazon.com/images/I/81IgGmXraUL._AC_UL160_SR160,160_.jpg)
![ドライヴ [Blu-ray]](https://images-fe.ssl-images-amazon.com/images/I/51WZxHlC8dL._AC_UL160_SR160,160_.jpg)
![ナイトクローラー [Blu-ray]](https://images-fe.ssl-images-amazon.com/images/I/71P8OIThHvL._AC_UL160_SR160,160_.jpg)
レビューでタイトルの意味は神のみが自分を虐待した母を許すことが出来る(俺は許さない)の意味だとあって、それも、なるほどと思った。虐待に対する精神療法のアプローチでよく使われる家族療法だと、自分を虐待した親に対する怒りや憎しみは個人では背負いきれないので神に委ねなさいという考えがあるので監督自身がセラピーを受けているのであるならば、そのアプローチは家族療法である可能性も高いし、神のみは許すが俺は許さないという断罪の物語とも読みとれる。
なんですけど、個人的には"父親を撲殺した自分を許し解放してくれるのは神のみ"という印象を強く感じてしまう 主人公はよく父親を撲殺した自分の両手を見つめているし、手を洗うシーンで蛇口から血が噴き出し両手が赤く染まるのは 父殺しの際に両手が血に染まり それを拭い去ろうとするが洗っても洗っても血を洗い流せない 、つまりは、拭い去れない罪を主人公は負ってしまっているという意味に感じられたし その血に塗れた拳を神に切断してもらうことによって ようやく暴力の連鎖と己の罪から解放されるの意味なのかなと感じた
あと歌のシーンは神事なのかなと受け取りました ヴァルハラライジングも神話(死と再生)だし この映画のテーマもエディプスコンプレックスであるならば神話ですよね。だとするとあのカラオケは神事なので神妙に聴かなければならなくなりますよね。もちろん監督自身のシュールでブラックなユーモアだと思うんですけどね。(刀シャキーン！とかフライパンでタコ殴りとか、神である元警官が一見普通の禿げたオッサン風であることとか)
後よかったのが殺された母親の傷口に手を突っ込んで胎内回帰しているシーンとか泣けるといえば泣ける。
語ろうと思えばいくらでも語れるというか、物語が多層的でシンボリック。色んな解釈や読み込みが可能だと思うので気になる人は要チェック
この商品をチェックした人はこんな商品もチェックしています
ページ 1 以下のうち 1 最初から観るページ 1 以下のうち 1
他の国からのトップレビュー
Luis
Wanna Fight?
2019年2月16日にメキシコでレビュー済みAmazonで購入
Fra
Refn non mi delude mai.
2020年9月17日にイタリアでレビュー済みAmazonで購入
Fra
2020年9月17日にイタリアでレビュー済み
La qualità del Blu-Ray è eccellente.
Consegna puntuale.
このレビューの画像
Kouz1 UB
LA VISION THAILANDAISE D'UN GENIE !!?
2018年9月16日にフランスでレビュー済みAmazonで購入
EisNinE
Blood-Drenched & Beautiful
2016年6月27日にアメリカ合衆国でレビュー済みAmazonで購入
EisNinE
2016年6月27日にアメリカ合衆国でレビュー済み
Enter Chang, often accompanied by a squad of loyal cops, who apparently view his backalley judgements and punishments as Divine Will. His attire is instantly recognizable to locals as the uniform of a retired policeman, and he wields a Kachin Dha*, a tool, weapon and traditional executioner's sword. Known as 'The Angel of Death', he grows more terrifying as the film continues, an ancient and preternatural arbitrar of judgement and retribution. Chang involves himself as an interlocutor in the language of barbarity, with the purpose of cutting the circle of revenge and providing an end-point, an exit, a way out. He leads the girl's father to the room where his daughter's corpse and her killer were both waiting, and lets the father beat Billy's head to splinters. He then takes the father to a place of judgement, and inscrutable negotiations about the price of justice take place in their native tongue. Chang assesses the man, his cold eyes weighing the father's soul to decide on the cost. His decision made, the sword flashes and he cuts off the father's arm. Justice is meaningless to Chang. He treats crime like a financial problem, bartering with bloodshed as cheaply as possible to keep Bangkok from becoming a slaughterhouse.
Julian was in a brothel the night his brother died, and NWR presents us with more of the prophetic visions/foreshadowing he seems so fond of, framed in the gorgeously inimitable style of Valhalla Rising, Drive, and his newest, The Neon Demon. As Julian watches Mai, the fierce-eyed prostitute watches Julian back, with a mix of unease, contempt and fascination. Mai has bound his wrists lightly to the armrests of a simple wooden chair with scarlet silk -- one of several moments foreshadowing the grisly end -- while he's sits unmoving. Then he is touching her, with a crude restraint and tentative, uncertain motions; like she's a porcelain doll he might shatter with the force of his passion. He drifts off, to find a dream-version of the brothel. There's a doorway leading into a room that isn't really there, opening into a blackness that is almost physical. The room represents Judgement. He walks toward it, tentatively reaching into the black, when the Kachin Dha flashes and severs his forearm. A day later, after questioning the man who killed Billy -- the man whose daughter was raped and murdered by his brother, the man who took his vengeance and paid for it with his right arm -- he understands -- or intuits -- that someone cut the circle when they took that arm, giving him a way out. He releases the grieving father, and goes to find his grieving mother.
While Julian and Billy ran a Muay Thai Boxing club as a front for selling cocaine and heroin, it's their mother who really runs things, from the other side of the world. Kristin Scott Thomas lends a regal air to the thoroughly contemptible character of Julian and Billy's mother, Crystal, a Lady Macbeth on crack. Her imperious demeanor and provocative behavior explains what we know of Billy, but Julian remains a soft-spoken enigma to everyone but Chang. The implacable, Zen-like calm that Gosling projects so brilliantly actually hides a deeply-rooted and barely contained rage. NWR gives us shots of his hands opening and closing into balled-up fists, and those hands come to symbolize the anger that threatens to overwhelm him. His mother berates him for failing to avenge his brother, and proceeds to humiliate him in front of Mai, whom he brought to meet mom as his pretend girlfriend. Kristin Scott Thomas's rant is a heart-wrenching, awful thing; she goes so far to say Julian is inferior in every way to his dead brother, utterly unfazed by the fact he raped and killed a 16-year old girl: "I'm sure he had his reasons." She then tells Mai that Julian's c@#k was a good size, but that Billy's was enormous... intimating an incestuous relationship. But Julian absorbs these attacks with the same stony reserve, the rage underneath briefly boiling over when Mai expresses disgust that he allowed her to speak to him in such a way.
Crystal decides to take action herself, ordering the assassination of the man Julian pardoned; and when one of their dealers informs her that there was also a cop involved in Billy's death, she puts a hit on him as well. She tells Julian none of this, and hires someone to take his place as a dealer. Chang's uniformed cops question Julian after the dead girl's father is killed, as Chang listens, out of sight, distinguishing lies from truths in the voice, not the words. He knows that Julian had nothing to do with the murder. When Chang walks by, saying something in Thai, Julian tries to follow him, but Chang escapes. When they meet again outside a nightclub -- where Chang occasionally sings sweet Thai love-songs to an entranced audience of cops -- Julian is still desperately trying to please his mother without sacrificing his conscience, challenging Chang to a fight that the older, smaller ex-cop wins with ease. Both Mai and Crystal leave him bleeding in the dirt.
What follows is a horrifying struggle that leaves Crystal alone to face Chang's judgement. Only then does she seek out her badly beaten son, pleading for him to protect her from Chang, telling him all the lies he's wanted to hear. He accepts, killing one of Chang's men. But when he learns from his Thai back-up that she gave secret orders to murder the cop's family, he's had enough. Meanwhile, Chang is secretly listening to his right-hand man interrogate Crystal. She blames everything on her son, not just betraying him, but further smearing his character like the loathsome, psychopathic, son-f@#$%^g parasite she is. After the interrogation, Chang comes to pass judgement on her, once again using his strike as a symbolic message.
NWR has established himself as one of the most gifted film-makers working today, and 'Only God Forgives' is a masterpiece, every bit as brilliant as 'Drive' or 'Valhalla Rising'. Many will disagree, but... whatever. They're wrong...) Gosling's impassive, almost beatific features and restrained, subtle performances make him ideal for the kind of style and story that NWR favors, along with the director's other favorite, long-time collaborator, Mads Mikkelsen. His films are a unique, visionary experience, distant relatives to the oeuvre of Stanley Kubrick, David Lynch, and Gaspar Noe. They're also profoundly disturbing, with a seriousness and visceral brutality that makes for some of the most haunting on-screen violence I've seen since 'Irreversible' by Noe, and last year's Horror-Western debut from S. Craig Zahler, 'Bone Tomahawk'. They're also Top 20 favorites, and so is 'Only God Forgives'. Even if you failed to dance around the minefield of spoilers, don't sweat it. The bare-bones synopsis above can't come close to preparing you for the artful insanity and blood-drenched poignancy of this film.
Footnotes:
* ( The Kachin Dha [see photos] "is from the Jingpho or Kachin people who inhabit the Kachin Hills in northern Burma's Kachin State, and neighboring areas of China and India. The name 'dha' is used for a wide variety of knives and swords used by many people across Myanmar (Burma), Thailand, Yunnan, Laos, Cambodia and Vietnam"(1). It's profile varies, but it's somewhere between an Indonesian Golok -- a cultural variant of the machete, designed for both clearing paths through dense jungle -- and a Dotanuki, which is typically the shorter and heavier sibling of the more popular Samurai Katana. Like the Wazikashi and Tanto, it was often paired with a Katana; but the Dotanuki could also be an alternative to the Katana, made longer for range and trading speed for power. In Japanese historical fiction, the Dotanuki was the sword of Ogami Itto, former Kaishukunin to the Emperor, responsible for high-level execution by beheading, and tasked with serving as the Emperor's own second in the rite of seppuku, taking the Royal head cleanly and perfectly. (1) - [...]
このレビューの画像
Christian Sidjani
Refns "Lost Highway"
2013年8月7日にドイツでレビュー済みAmazonで購入
