transferred from the Xici Hutong
more than a hundred years ago, the movie "Born" was in a cafe in Paris, when many "workers" began to walk in front of people, sprinting " When the "train" roared in, the dream of mankind who wanted to save time for thousands of years was realized. This is a dream that is no less than aspiration to fly. Since then, the film has recorded the surgings of this century and the "dream life and dream of life" far beyond this century.
Tarkovsky said, "The "Train into the Station" contains everything that a movie becomes a movie, and the movie gives mankind a tool to intercept time. Before the sound is "born", the magical ability to save time is firstly determined by What the camera creates is achieved through images.
"Ivan’s Childhood" is Tarkovsky’s feature film debut. When this film won international awards, Tarkovsky believed that it was just a film that was thought of in a student dormitory. . Nevertheless, if you analyze some of the visual processing of this film, you can still clearly grasp his usual way of "intercepting and sculpting" time and what you can see with his poetic gaze.
First, mark the time of the actual situation
the film, like all of Tarkovsky's movies, reality consists of space-time and non-real time and space. These two time and space are blended together, the reality and the virtual are born together, and they are one with each other. They outline two different time streams, but in fact they are intertwined into a chain.
In "Ivan’s Childhood", the unrealistic time and space appeared 5 times, of which 3 times were clearly Ivan’s dreams, one was the “battle” imagined by Ivan in the shelter, and finally Once is the end of the film.
In "Nostalgia", Tarkovsky uses color and black and white different films to mark the time when the reality is different, while in "Ivan's Childhood", it is composed of different light shapes and tones. And visual atlas to illustrate and write.
1. Photography modeling
From the perspective of light effects, the three dreams and the end of the film strive to pursue a poetic visual effect in order to depict one after another ideal "dream" that should not be an ideal; and in the realistic paragraph, except In the birch forest, apart from the hunt for female military doctors, whether it is the windmill house when Ivan woke up, the ruins of the haze, the river at night, the shelter of Khartsev, etc., all he tried to pursue a low-key effect. , There are huge projections on the walls of the interior scene, using various methods to form bright and dark spots, creating various unstable light sources, and filling the space with "dead corners" of light, so as to match Ivan’s wonderful "dreams." "Form conflicts and outline the abnormal attributes of real-time voids."
<1>Look at the beginning of the film first: the sunlight is very bright, the tone of the picture is very soft, the light ratio on the characters' faces is not large, the main light source (sunlight) is mainly side light, side inversion and backlight; strong direct light" "Break through" the branches and leaves, forming a beautiful beam of light in the air, and little Ivan's face was light and shadowy. From Ivan watching the sun to running back to my mother, and my mother watching Ivan drinking water-there are a total of four shots, in these four shots, the sun's light position is completely opposite, the last three shots The main characters (or Ivan, or mother) are all shrouded in beautiful backlighting, but the actual spatial positions of the two are facing each other.
The film opens in such a visual environment: the landscape of the countryside, the creatures in the nature, the smiling Ivan, the strong mother, the strong sunlight, and the person standing on the elevator and "flying" up the treetops. The little protagonist, and the point of view when the character is flying-these constitute the visual characteristics of the film's "unrealistic" time and space.
The second scene immediately followed: With a gunshot, Ivan woke up in a low-key shot taken from a low camera. At this time, his face was top-side light, accompanied by his getting up. , The light and shadow flickered; when Ivan stood up straight, his right face turned black while his left face was illuminated, and the light ratio was very large; the camera followed the movement of the characters. With the shaking motion, Ivan's downstairs brought out a new room below the vertical, and the light on the character's face changed several times from bright to dark. This shot, through the two-way movement of the character and the camera, makes another complicated curve scheduling in three dimensions, which echoes the first shot in the opening scene, but it uses completely different light.
The haze and cruel reality of war and the virgin dream of little Ivan are just like that, at the beginning of the film, they suddenly become vigorous. Real time and time outside reality are distinguished by space and light effects in space, and they are unified by the character of Ivan.
<2> In the other two dreams and at the end of the film, whether it is a mother and child on a well platform, a partner in the rain, a horse on the beach, and a playmate on the beach, each of the main characters is very "classic". The sculpting light is perfectly sketched, often shrouded in backlighting. The poetic picture depicts a series of 14-year-old "times" belonging to Little Ivan and his weak soul, which are unrealistic times. Make clear footnotes.
And in real time and space, the flares across the sky, the swaying candles and fires in the shelter, the sky light flickering in the window of the car, and the pulsating light spots on the water at dusk-these unstable light sources that appear everywhere, not only record the time The passage of time, but also highlights the extraordinary properties of real time and space. At the same time, the ubiquitous smoke in the location, the confetti all over the sky in the prison database, the change of light and shade on the female military doctor’s face, and various other elusive changes in light and shadow, plus the skylight and shelter leaked from the trenches. The strange beam of light at the door, the huge shadows formed by the characters on the wall, as well as various forms of top light and foot light, together constitute the mainstream of light forms in real time. What this light effect depicts is the "time" that a fourteen-year-old child shouldn't have, but the little Ivan "woke up" again and again in this "time".
<3> There is also an unrealistic passage in the film, which is Ivan's "battle" of a person in the shelter. In addition to the sound, Tarkovsky described the abnormal "dream" in this abnormal environment in this way: as a dark clock was hoisted, the passage began; the huge clock in the foreground Body, pressing the little Ivan in the background tightly at the bottom of the picture; then, Ivan disappeared in the shadow; between the dark shadow and the light zone, Ivan appeared and disappeared from time to time; With the disappearance of the block of surface light source, the beam of the flashlight becomes the main light source in the scene; the iron fence that divides the picture, the narrow light area, the unstable light source, the shaking lens, the sudden appearance of the people, and the repeated foot light Lighting and Ivan’s silhouette—accompanied by various sounds, constitute this scene intertwined with reality and unreality. The virtual reality of “time” has been dispelled here. The extreme abnormal visual environment and photographic modeling are Ivan’s The externalization of a weak soul full of hatred and distortion.
2. The nature of the space and the visual map
<1> In Ivan’s dreams, the characters are almost always in open spaces (except for a few pictures taken at the bottom of the well): rural grasslands, highways, well platforms, and speeding. The truck in the rain, the beach with horses, the game "paradise" at the end. The open, open natural landscape marks the time and space that a fourteen-year-old child should occupy.
But in real time and space, there are a lot of enclosed and semi-enclosed spaces: at the beginning, Ivan woke up in the windmill house with only one exit shelter, headquarters, broken "home", trenches, etc. Wait. Tarkovsky also used the branches of trees, wings, various debris, "crosses", iron fences and other objects as a concealment in the foreground, dividing the originally open space such as rivers and battlefields into pieces. No longer so open and "clear". These extremely boring environmental shapes have become places where several main characters often move and unfold their actions. Depression and gloom are the director's footnote to these spaces, as well as the "sigh" of abnormal childhood.
<2> In the dream, Ivan was almost naked, and only when he was in the truck, did he wear a short-sleeved sweatshirt soaked in rain. His appearance in the sun and rain is always Appears so pure and flawless; and at the end, all the children are shirtless, playing and running happily; the mother always wears light-colored skirts; and the tone of the environment is also due to the sun and rain Shine lightly.
In the actual passages, Ivan is always very dirty, wearing dark clothes and a heavy leather cap; among the main characters, only the female military doctor wears a white coat when she is on the stage. , And when Ivan came to the shelter for the second time, Hollin wore a white shirt; besides that, most of the time, most of the characters were in dark shapes; especially those performing tasks at night In the passage, they blended into the dark night.
<3> Lively children, natural creatures, magnificent mothers, sunny waters, soft beaches, horses, apples, plenty of sunshine, and smooth rain, etc. These shapes constitute Ivan’s dreams The visual score.
High-hanging alarm bells, dark shelters, shaking flashlight beams, daggers, ropes, iron fences, refugees, Nazi military uniforms, writing on the wall, mirror images, etc. are all visual elements in Ivan's nightmare.
Windmill house, setting sun, slanted horizon, forest, river surface, broken homes, crazy old people, marching troops and vehicles, hanged comrades, wreckage of enemy aircraft, signal flare, mirrors in enclosed spaces, etc., are all The image that little Ivan had to face in reality.
The gentle and faint light, the young and beautiful female military doctor, the straight birch forest, the light-colored tree trunks, and the barracks built with these tree trunks and the pursued walking on them, and the fallen leaves thickly paved on the ground-these images , Silently conveyed the preciousness and romance of that moment of true feeling in the smoke of gunpowder.
A variety of different spatial properties and visual atlases provide a basis for the audience to distinguish between the different times of fiction and reality and the subtle changes in the mood of the film; at the same time, you can also glimpse the different situations and emotions of various characters and the director's different natures. The various attitudes and tendencies of "time".
2. In-mirror montage reveals the dripping of time
I have always felt that the reason why the long lens is "superior" is that creators are required to spend more time and space in dealing with issues of time and space, and the requirements for imagination and self-confidence are relatively higher.
In this "Ivan's Childhood", Tarkovsky fully mobilized the montage function of the long lens, and finely carves the flow of time through the gradual changes of space.
<1>The first shot: After fading in, it is a close-up shot of Ivan. He is facing the camera with a cobweb in the foreground; as Ivan draws to the left, the camera rises vertically along the trunk of the pine tree; In the process of "rising", Ivan re-entered the painting from the left. At this time, not only the scene became a small perspective, but also the shooting angle became a top view. Such an ingenious character scheduling that combines the inside and outside of the painting, both horizontal and deep, combined with the vertical "rise" of the camera, so that a scene and movement of the characters are formed in one shot. The direction, the point of view of shooting, the subject of vision, and the many changes in the repeated communication inside and outside the screen. Since this change is done in a long shot, that is to say, the audience has actually seen the process, so the subtle passage of time is condensed into a specific visual shape, which becomes sensible And "touch" again.
<2> Two shots of Ivan and Khaltsev in the masking department:
the first double shot of Ivan and Khaltsev-opening frame: It is a close-up shot of Ivan, he is at the front right of the frame, ha Ertsev entered the painting from the left, in the background, a large and medium shot. Every time Ivan turned his face to talk to Khaltsev, it became a double shot of Ivan's shoulders. When Khaltsev walked to the depth of field and brought Ivan a towel, it was basically covered by Ivan, which became a single shot of Ivan again. As Khaltsev walked from the back view to Ivan's left side, the camera also shook to the right. At this time, the double composition was restored, but the two people exchanged their left and right positions. When Ivan in the foreground took off his pants, he bent down and came out of the painting, so that a space outside the painting was clearly defined at the bottom of the painting. After Ivan stood upright, Khartsev in the background looked at Ivan’s back in surprise and asked about the scar, but the audience could not see Ivan’s back, so he created another one. The space outside the painting. Ivan turned his back, and only then fully explained the scars on his back to the camera, and the spatial relationship between his and Khaltsev was changed again.
Looking at another two-person shot: the opening frame is a single shot of Khaltsev from the top. The camera pans to the left as he moves, and the lens angle is pressed down vertically to turn into a head-up view, turning Ivan in the foreground. Brought into the painting, Khaltsev has become a figure in the background. Because this double lens deliberately controlled the depth of field, the Khartsev in the background was blurred, and the main body of the picture was even more prominent. It was still questioning, and it was still as Khaltsev walked around, swapping the positions of the two people on the screen. When Khaltsev walked into the depth of field, Ivan turned his face back and answered his questions, and now it became an over-the-shoulder shot. Then Ivan draws to the right, and the camera pans slightly to the left. Khaltsev, who is on the phone, becomes the subject of this single-person camera. After a while, Ivan reappeared in the background scene. In this way, the two people exchanged the positions of the front and rear scenes. In fact, they completed a double front and back fight.
It can be seen that Tarkov is like this, completing a rich variety of changes inside a lens to form a "montage". This meticulous and complicated design runs through the film, and can be seen everywhere in the birch forest, in the trenches, on the river in the forest, and on the beach in the dream. The beautiful and sophisticated pictures and detailed scheduling not only make the whole film exude a strong poetic flavor, but also meticulously carve the flow of time in the drips, allowing the audience to touch the short life of a fourteen-year-old.
In a South Korean movie called "A Visit to a Lover", a director wrote on a photo: "Are you here to find the truth?" In a sentence, the image in that photo is Tal. Kowski's cemetery in Paris. What an interesting action: Lao Ta spent his whole life “living on the road of pursuing the truth” through his image. More than ten years after his death, an oriental director held it in his hands. A photo of him in the cemetery in Paris, on which he wrote about his doubts about the "real", and to the audience, the oriental director is just a fictional character in this Korean movie (image ) That's it.
The movie is such a miracle. She possesses a "magic power" that has never appeared in the world before her "birth", allowing people to discern the illusion from the reality, the image and the signified, and she has time to dissolve it. Tarkovsky compares filmmaking to "sculpting time". As far as his poetic eyes can be, he can touch the flow of time, and at the same time reveal the confusion of time.
In this "Ivan's Childhood", through his subtle arrangements and passionate vision, we truly experienced the "dream of life" and "dream life" of a teenager in the short life course.
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