The ultimate visual poetry

Madelyn 2022-04-21 09:01:45

One of the means by which the film achieves its aesthetic purpose is to create an arbitrary space - a space in which human perception of time and space (that is, the usual story structure) is lost, and what remains is to abandon the pure perception of time and space, That is, the aesthetic state. In this film, the zone itself is an arbitrary space, which integrates human nature, destruction and redemption, so the moment the audience enters the zone, the audience has been taken into an arbitrary space. This is extremely rare, because the arbitrary space of ordinary films (already art films, only art films can consciously extract arbitrary space) can only be revealed when the climax points out (such as some empty shots of Ozu, or Antonioni The strong color of the final elimination); so the tower is great here because he brings the audience a never-ending climax that lasts more than two hours. In fact, it is not only the setting of the zone, but Tarkovsky's scene head itself is an arbitrary space. The way the camera moves and the performance of the actors in this lens has already broken through the limitations of the real space. Telephoto, The close focus, even the transformation and inversion of space, has completely reached a state of gaseous perception, and different angles of different things can show themselves in a non-stop continuum (even the time attribute has been eliminated) - that is, The ultimate expression that a montage should have, is only made more surprising by the continuity of the image surface. (No, Tarkovsky's long shot is in many cases what Eisenstein calls an in-camera montage)

the room is an extremely powerful scene. If the whole movie is a huge climax, it's the climax of the climax from the moment we reach the room. Through dialogue, its meaning (the integration of human nature, destruction and redemption) has basically been revealed, and the inner contradictions of all characters have been explained. But that's not what I want to say. What I find extremely interesting is that the tower does not follow the usual routine, giving a shot facing the room at a critical moment to show the audience what it looks like - instead, he has the camera facing away from it (that is, facing the three character), move slowly into that room. From this, the room must be infinite. Then there was the rain. All human problems finally return to nature (which also corresponds to the number panorama that first became colorful and dazzling), a rain fell, and it shone with golden light. Then the rain stopped, and the crumbs of the bomb were thrown into the water with the same golden ripples. The ultimate form of visual poetry, where nothing needs to be said or even understood...

I thought it was time to stop coming back, but it turned out to be a prolonged intense climax - back to triviality, a family, love and destiny, the little girl is the room tower and the avatar, moving the cup in the mechanical world, downcast eyes The fire of love gleamed in the eyes, and flashed quickly in the closed eyes—a brooding, rumbling yearning.

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Extended Reading
  • Eryn 2021-11-13 08:01:25

    #重看#4.5; There are philosophical debates full of inquiries, almost as Tarkovsky’s in-depth analysis of religion, art, and technology (referred to by the three protagonists) in all directions, and may be his most infiltrating One time inside; you can also see or imagine the process of shooting like a monk. The natural landscape under the erosion of industry/nuclear radiation tends to be destroyed, human beliefs are precarious, and they are unable to control emotions. The old tower is too ambitious, and almost every point touches the essence of existence. Defining the doomsday-like ruin space as a "zone" is not only a place where the holy and fools (sages) live and hope, but also the projection area of ​​human hearts and spirits, and a holy place for the sorrowful. It fluctuates from time to time, like water. Waves (also the image of a large amount of water/rain/milk) are invisible and shapeless, it absorbs and carries false hopes, and the alert reminds the existence of the boundary, which needs to be felt with the soul. There are too many famous scenes—moving cups, the vibration of the first and last trains, sand dunes, slow-moving long mirrors, rain in the house, dogs in the distance.

  • Micaela 2022-03-27 09:01:05

    1. Along with reading "Carving Time", I have read all the eight main works of the old tower (when will I get a medal of the old tower) If I have to use barren language to describe him: Lao Zhuang + Shostakovich +Marquez + Marguerite. 2. I don't know whether the game "Stalker" of the same name has a tribute component, or whether this film has a prophecy component, which has an inexplicable fit with Chernobyl. Whether it is the recent "annihilation" or the scenes of Japanese apocalyptic anime, Laota's contribution and influence to sci-fi films are subtle and great. 3. Objectively speaking, I didn't know that Bi Gan was stealing the old pagoda at the beginning. At that time, the evaluation of "Roadside Picnic" was not high, and I don't know why so many people sought it. Later, "The Last Night" hit the street, and it was only a symbolic teasing. Now that I think about it, I may have seen through phenomena that he only learned the fur of the language of the push-pull camera. There is no difference between genius and mediocrity. 4. It is the first time to admit that the director world is also talented, and the top three favorite directors.

Stalker quotes

  • Professor: Stalking is a kind of vocation.

    Writer: I imagined stalkers to be different.

    Professor: How so?

    Writer: Like Leatherstocking or Chingachgook or Big Snake.

  • Professor: Who know what desires a person might have?