#2020.10.23小西天重看#
They are in a mutually beneficial circle where they want to escape but cannot escape. Augustus is almost dusk, the family is broken, and he is proud of his professionalism in the industry. What I see is at least what the characters don’t want to see. Fellini’s skills in the play in this film can be used by future generations as much as possible, although this work, which is very different from "The Road", did not make him more at the time. Outstanding, but he did the best in a commercial film in terms of dramatic treatment and continued his cinematic innovation in the psychological realism films of the same period in "The Road" and Rossellini. This neglected film is emotional The above reflects Fellini's enthusiasm as much as "The Road" and no less than "Lang Danger" attention to these people. This is undoubtedly the forerunner of "Sweet Life". This is a night in a lonely town. A few movies with lonely ghosts wandering stories
Fellini used two wonderful and dramatic spectacles to build almost all the external information. The characters are already full of soul in the first scene. Crawford does not speak Italian. The dialogues are all dubbed and confined to Italian movies. The tradition of dubbing and he is really performing purely. The kind of unwillingness he performed was quite obvious before the deception, but in the whole process, it was fascinating and still surging. This made the audience always on the way to experience strange scenes with the same character. Feeling the inner emotions of the characters is the aesthetic principle of psychological realism, and the drama inside the characters here is more than the ordinary tour view Fellini, like a Hollywood movie, pushes the camera away from other characters at the bishop’s door, like a Hollywood movie. In ancient times, the old woman who had been in the background came forward and leaned down to ask the bishop’s grace. How a character with dual identities faced the moral crisis brought by dual identities was naturally the focus of the film, so such a high-sounding The appearance of the bishop of Fellini firmly made him attached to the sense of formality of Hollywood movies
This construction makes people unconsciously want to use events to structure the film in the story, and this is only an external or external description of the characters, not even a story. In these events, there are some interesting parts of Fellini and some funny passages of Ferry. Before making the film, Ni learned about some liars. Although he was not deceived, he found it very interesting. He tried to pay attention to the lives of these people. From this movie, he also placed these characters in social relations and family life. A story after "Lang Danger" and even when they walked out of the night club after the first time of joy and danced with the violin and "Lang Danger" wanted to show the pleasure of being in the "now", it is really impressive. A deep shot
Among these people, Picasso is a crying teenager who got married at the age of 18. He has a Marina who wore a plain and satisfied smile at the banquet and even asked him to spend more money on his painting dreams. His wife and a His daughter’s middle-class family actually didn’t know what he was doing to a large extent. After seeing the scenery in the first scene, he pulled the condemned Ogu and asked if it looked like Corot’s landscape painting. He didn’t. What an intellectual he drew that botched painting did not receive any praise from Rinaldo, represented by the upper class, and brought the fundamental nature of his deception into all the views of their group. He sat Rinaldo's luxury car seemed a little uncomfortable at first. When Rinaldo talked about his family life in Switzerland, he looked longing and relaxed and relaxed. He knew there were things he couldn't do or even understood those concepts. He couldn't even say a million three words in front of Ogu, but these fantasy of life made him feel at ease. He held Marina at the banquet and told her that the desire to take her to Venice was of course that he didn't know that there was still Where is it worth visiting or can you tell me a thing or two? Is it Switzerland?
Augusto, who is sitting in the same car, is different. Picasso, who admires these life as a child and hears new things in life, is sitting next to him, listening to former friends telling him that he is far more than a 5.5 million lire luxury car and city mansion His life has been squeezed in the car, and his body that is difficult to move has lost the vitality of a fool Picasso. This is the first node exposed by his existential crisis. Since he arrived at the banquet, the relationship between the characters has become clearer and clearer. Roberto The first thing that took over the role was that Roberto came to this distinguished banquet secretly by himself and an old lady was playing a vulgar game. In the hair section, he only used these to do things for men and women. This section undoubtedly became a tool for him to enter the society. For such a handsome and slender man, what is the fear behind the romance at the banquet Fellini He made a sarcastic explanation. He used a small episode as a small punishment for his behavior. For the characters, all the faces he had in this banquet disappeared. This kind of externalized inner fear and defects in the play. The choice was accurate and smart. He also made Ogu realize the deep gap between him and the two working together. Even when Ogu drank champagne on the first night, he had used lines to express that he looked at Rinaldo as a 48-year-old man. Enjoy the sweet life and don’t want to make some ridiculous self-introductions like Roberto. Augu does not want to lose a bit of the majesty of his elders because he pursues the personal value of existentialism. He may have a reputation for money and creating gaps. All interested. In short, he leaned down beside Rinaldo. August is definitely not the stalwart attitude of the bishop in the picture. He is squeezed to the side of the picture and can't move. The audience also looks at him and can't help but can't move uncomfortably. After watching him, he asked what he could do to leave him with an uncomfortable single shot. The audience straightened up when switching, let out a long sigh of relief. Fellini didn’t want to simplify the banquet. He couldn’t do anything wrong with this banquet. Judgment of inclination When the New Year’s bell rings the window, the fireworks are turned off, and the lights are turned off in the room. With the shouts of carnival, Fellini photographed a few expressionist figures on the wall. The corners of the wall and the figures that he photographed are like a devil. This sequence of shots It became his direct attitude towards everyone here and the three main characters who wanted to succumb to this kind of life, just strong or weak.
The drama of Ogu and his daughter is actually nothing special. This is even more for Ogu as a point of view to continue to advance the story. Naturally, he also needs to consider his family situation. But here, I believe that the most important issue for Ogu is his consciousness of life and death and him. His existential crisis is only for his daughter’s dedication to this level, otherwise he would not give his daughter the damn stalled watch or throw the ice cream that is most important to me in his life on the ground because of his emotions. If he wants to fulfill his daughter’s promise, he must use his most professional means to do something. Obviously, sending the watch does not mean quit washing his hands and throwing away the ice cream is to lose his identity as a father or to sweep Yaxing. But if we love ourselves My daughter, she is like an angel in our lives who can make us cry at any time, that ice cream I really hope it will never use the same technique as the father's majesty and personal positioning, the most feared thing is also revealed ruthlessly by Fellini.
Then the most important scene finally appeared. This scene made the whole film no longer flow from the story and the absurd pursuit of a few characters and to no avail. Fellini let them drink and wander on a street with no one in the middle of the night. Picasso’s childlike gossip, making funny and cute moves. Augusto took the initiative to attack Roberto on the issue of livelihood and normal work. What August did not expect was that he did not want to be with children. The child’s creed is not to be like. People like him, Roberto, talked about his illusory plans and the arrogance and arrogance that he believed to be different from Ogu when Ogu said only two sentences. In this scene, the heart of Ogu was very rich and complicated. He and the sober Luo What did Beto say about the plan, but Dionysus, who had no ambition and was like a child, was possessed by Picasso, talking about the wisdom of life and the experience he was proud of. In a panoramic view, they wandered on the square of the dilapidated carousel. With or with little thoughts, the audience can clearly see that this is the story of the relationship between three people and society and the search for hope in life. I have never been so close to these characters before. Everyone who has been drunk at night is facing life and the future. Lonely ghosts who live in an unsettled place and talk a lot about this scene can’t help but tremble in their hearts. They are like my life, which makes me never forget
As for the last paragraph, it can even be formed into a sentence. It starts with a dirty, dirty and shameless chariot that is different from the previous vehicle driving towards the camera. This paragraph directly and independently shaped a dramatic character in his heart. Morality is in him. It shows that he does not want to challenge God or his own identity without ignoring his conscience. He also saw the world in the girl again, but his ending is doomed. Fellini could not favor the characters and let him be exposed again in purposeless suitability. The existential crisis created by the characters built by its strong purpose can not give up because of the moral crisis. The treatment here is very perfect. The final question is why Fellini filmed those survival polyphony. Whether his step-by-step endeavors seem to be lengthy or not, here is a very critical place where he yells for pedestrians on the side of the road without the slightest effect. This is the last moment of the crisis of the real guitar for his pursuit, and it has reached the point where it can no longer be reconciled. Slowly leave this ruined disabled person and end the movie
Fellini meticulously arranged the movement of the actors and the camera. He arranged the movement of the actors as a process of walking towards the camera and then leaving the camera at a right angle. The actors walked towards the camera at the same time. At this time, some actors were arranged to walk in the foreground of the camera and they might click one. The other part of the smoke walks as far as possible away from the camera. Maybe it is called the role of the foreground. Such a deep shot was created by the actor's position and slight camera movement to create a wells shot with a clear relationship between the front and rear depth of field. This is here. This kind of narrative film is very effective. Seeing familiar scenes and these emotional characters and those cinematic language telling my own story. It reminds me of the feelings that those moving scenes give me. It tells me to stick to shooting my own movies.
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