Tornatore distinguishes BAARIA from the warm film of family love with the image of the nightmare of a group of snakes, telling you that all the elements of the "Paradise Cinema" that appear in BAARIA are polite and polite to the audience rather than Mei Lanfang's to Farewell My Concubine Lack of confidence.
The first half of the film progressed very happily, with scenes about childhood and after the war spilled out like mosaic tiles, and there was no obvious continuous narrative. Those who are accustomed to the soothing rhythms and fermented emotions can hardly find a suitable space to place their emotions. After flying with the young Peppino, they have been drifting until the love and the communist movement are relieved. The miscarriage of the first child left almost no room for sadness, which was taken in one stroke, and later the couple gave birth to five consecutively. The boy who stepped on thunder also showed a few lame shots afterwards.
Adult Peppino is not a positive image. He doesn't read books and is passionate about politics. He is engaged in the communist movement, is a vagrant and conservative in the eyes of his daughter, and loves to make unrealistic promises to his family. The son also felt the public's bad evaluation of his father's image from his colleagues. But when the elderly Peppino said, "We thought we could embrace the world, but finally found out that our arms were not long enough," we can see the director's tolerance towards him.
The film’s description of socialism is gentle and tolerant. Not to the point where it is unpopular, but from the emotions of the people and the protagonist’s dream about snakes in the car, we can feel that the protagonist had doubts about himself. Many people think that the land reform scene is exactly the same as China (my colleague in Rome also said that Rome is the most Asia-like place in Europe), but obviously China is more suitable as a hotbed of this kind of system. BAARIA is not a political film at all, and the director does not intend to refract the big era with the fate of small characters (this is what Chinese directors and critics like to do). The reason is simple: the fate of ordinary people is just the fate of ordinary people, and every era is a special era. Historical sadness and scars are basically negative attitudes and low-level emotions. The correct concept should be what Zhang Lixian jokingly called "all clouds".
At the end of his childhood, he walked through today's streets and retrieved his daughter's lost earrings when he slapped him. It can be seen as his repentance. The film gives me the feeling that only the simple life of childhood is real, but this truth will only be realized when people get old. Most of the errors and nightmares in the middle are confused.
The Sicilian folk customs in the movie can be described as a major attraction. Many people reach their emotional culmination when they see the spinning top split and flies fly out. But it was the moment I cried: Peppino, who rushed back to redeem the reward he deserved, was cheated by an adult and was extremely wronged. It is simply a fable of life.
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