Review: Norwegian Wood

I have quoted many times from this book and I only realised tonight that I never wrote a review for it. Considering that is was one of the most memorable books I've ever read I would be remiss to not do it justice like the rest of my favourite Murakami books.

Written by the Japanese author Murakami Haruki （村上 春樹） and translated by Jay Rubin. Murakami is currently my favourite (still living) author and for my money the best writing style of any author in any language. (though I suspect most of the credits will have to be given to the translator) His ability to paint the most breath taking imagery and the mastery to invoke emotions is second to none.

Unlike the other two Murakami books that I've reviewed thus far this book is unique in that it draws on Murakami's own life experiences which resulted in speculation whether this was a fictionalised autobiography of his youth. A suggestion that he denies, stating that his youth was far more mundane but I didn't research too much into it - maybe it is, maybe it isn't. So unlike the previous books, no talking cats and strange pseudo sciences. But classically Japanese - sexually charged and explicit but never vulgar.

The story follows the protagonist and narrator - Watanabe Toru. Following his experiences as a Japanese youth through high school and university. The story opens with the elderly Toru landing in Hamburg, Germany where he hears the Beatles song - "Norwegian Wood" and was immediately overwhelmed by a sudden and unexpected wave of sorrow and nostalgia. The song was the favourite of an emotional fragile girl named Naoko, and from here Toru narrates this story.

It follows his struggle after the unexpected suicide of his best friend, leaving his girlfriend Naoko, traumatised. Naoko and Toru becomes involved and shares a turbulent relationship, back-dropped against chaotic times when university students were far more concerned with the social protests than studies - which also doubles as Murakami's criticism of hypocrisy of the student movement then. He then meets the free-spirited and lively girl named Midori and found his affections being torn between the two woman.

I have mentioned in other posts that I was completely dumbstruck the first chapter, Murakami painted a scene of mesmerizing beauty, rich with emotions as if one could touch the incredible sense of energy and love Toru had for Naoko. The final scene in the chapter was filled with pleasant nostalgia that warmed the heart and then he plunged the reader into collective depression by ending it with "But Naoko never loved me." (yes, I also plagiarised that line, so sue me)

The matter-of-fact way that Murakami ended the chapter set the tone for the rest of the novel - because it resembles watching a car accident in slow motion. Painful to watch but at the same time so captivating that you are unable to avert your eyes. The book for the most part was depressing - I enjoy and consume tragedies but reading it made me feel heavy for days afterwards. It touched me in ways that only a well written book can.

Never To Trust Again

Seven months ago, when I was at the height (or depth) of my depression I wondered if I can trust anyone again - if I could ever open my heart to someone unreservedly again. Ok, I will be honest it didn't come as much of a coherent thought as a quick flash that was followed by unqualified panic and pain. Months later, I revisted this question and here follows then answer.

As background I'm pretty sure that I have mentioned on this blog numerous times that I don't trust easily - I have cultivated a reputation for working well with difficult people not because I trust them or see the best in them. Au contraire I'm the opposite, because I never expected any real results from people in the first place I was never disappointed and planned projects with lots of contingencies. The exceptions to this rule can be counted with one hand. I also don't like to be proven wrong on this.

This is on professional level - strangely (or not) on a personal level I dream of being proven wrong. I openly admit that when it comes to emotions I'm a cynic that hopes,dreams and desperately want to be proven wrong. I desperately want to trust people but can never seem to let myself go. Until I met her.

The start, process and conclusion of that encounter are fairly well documented in previous posts and I will not go mention them here. I've moved on to accept reality - but I will be lying if I told you that I no longer love her, the truth is that I still do - love her more than anything else.

Now lately I re-asked myself the question on whether I could trust again and I can definitely answer - NO! I will never emotionally commit myself to a single person again, the idea terrified me before; now I'm nauseated by the thought of it.

For more importantly I will never trust myself again, looking back I never prioritised my own well-being. Never given much thought to own emotional health as I continued to tortured myself again and again - knowingly and relentlessly.

I will continue to feel these emotions, if anything I feel emotions more vividly and in a more profound way than ever before - but I will no longer trust these emotions that I feel. I will be an addict to emotions - the pain, disappointment, anticipation, exhilaration and ecstasy, but never trust or invest in them because I don't trust myself to know what they mean. Or that if any good will come out of it.

Movie Review: A Chinese Ghost Story (倩女幽魂) 1987 Version

This was one of the Hong Kong movie classics that was released at around 1987, based on the stories written by the author Púsōng líng （蒲松龄） in his "Strange Tales from a Chinese Studio" compilation (聊齋志異)whose first volume was first published at around 1680 (though may be as late as 1705). These stories are popular for their incredible imagination that is based on folklore concerning ghosts, monsters and demons that is familiar to many of his contemporary audience; but what really made them shine and truly unique anywhere in the world at the time was the humanisation of these ghastly creatures. He was probably the first Chinese author to humanise these inhuman entities and demonise humans. He was centuries ahead of his time.

The Chinese name of the story "倩女幽魂" loosely translated means "Ghost of an Elegant Girl." The main female lead is a spirit that was captured by an evil Tree Spirit and forced to use her female charms to lure unsuspecting men so that the Tree Spirit can devour their living energy. Her love interest is a naive traveling scholar who resisted her sexual advances in their first meeting and was saved because of it.

The formula to the movie was a rather classic one, girl meets boy, fall in love and girl sacrifices herself to save boy but boy enters hell to save girl. But even by today's standard (especially since how Hong Kong is now perennially shooting sub-par movies that satisfies the lowest common denominator) the movie was exquisitely executed.

The two leads will always be remembered for their role in this movie (even if the male lead had a FAR more successful career as a singer and he will be best remembered in the critically and internationally acclaimed: "Farewell, My Concubine" ), the acting was good and the casting brilliant. The soundtrack from the movie was also more than memorable. The theme song: "Dawn, please don't come" (黎明不要來） is soul wrenching, the last time I watched this movie was 16 years ago and I can still recall the chorus line ”不許紅日!“ (don't you dare red sun!, or red sun I don't give you permission) when I was reminded of this movie. The last scene with the tearful girl disappearing under the red light of dawn with this song playing in the background was close to perfection for 1980's cinematography.

I often wondered why Hong Kong can't or won't make movies like this anymore - this story had everything: depth, profoundly satirical, a strong script, plenty of Chinese martial arts action scenes (though many Western audiences find it over the top), monsters and a touching love story. It was timeless.

Personally this film will shame almost all recent solely Hong Kong productions with the obvious exception of Infernal Affairs (aka 無間道, aka The Departed）. Otherwise if you're looking for quality Chinese language movies go to the mainland.

I'm also very excited that they've remade this movie (A Chinese Fairy Tale) under the same Chinese name with big names coming from both Mainland and Hong Kong. The female lead's acting ability is rather questionable but this role is perfect for her in the way that Keanu Reeves was perfect to play the emotionless alien in "The Day the Earth Stood Still". We will see.

Edit 1: I originally said that the male lead (Leslie Cheung) had a more successful career as an singer, but I was mistaken in that he also stared in the Cannes Grand Prix winning(before there was a Golden Palm award) movie "Farewell, My Concubine."