Italy in the 20th century was a special period of epic significance. In 1970, Italy established diplomatic relations with China. In China, from south to north, a desperate struggle between the proletariat and the bourgeoisie is being experienced; in Italy, the same story is being unfolded in a different way.
Starting in the 1960s, in that bourgeois/proletarian struggle, the Italian bourgeoisie had the upper hand. As a result, capitalists began to become richer and richer; what about the poor? It has become poorer and poorer. In Milan, in Rome, in Turin, in Naples, human tragedies containing unemployment, inflation, strikes, monopolies and many other unstable factors have been staged all the time. People at that time hesitated and feared, they seemed to have lost their future.
It is against this background that Italian director Eto Scora uses "We Are So In Love" to show us a social microcosm of Italy from the 1940s to the 1970s. The joys and sorrows of the little people in the big era became an entry point for the director Skola to express his propositions. At the same time, "We Are So In Love" is a film that the director himself pays tribute to the well-known Italian realist filmmakers Desica, Fellini, and Rossellini from the 1940s to the 70s. European avant-garde did not lag behind, and Italian neo-realism began to rise after World War II. Since Rossellini's "Rome, the Undefended City" was successfully screened and received great acclaim, neorealism has flourished with its unstoppable vitality. When you see the scenes of "Bicycle Thief", "Sweet Life", and "Wandering Children" interspersed in the film's storyline, you will know how much Skola admires them. In fact, the so-called reverence is essentially the director's admiration of neo-realistic themes. One of the effects of new realism may be to make movies no longer condescending or full of fantasy, and filmmakers have to transform from pure artistic pursuers to reformers who endow the values of the times with their artistic ideas.
To talk about "We Are So In Love", one has to talk about Stefania Sandrelli, who plays the role of Luciana in the film. Sandrelli, who once ran a lot in Fellini's "Sweet Life", was lucky to take the lead in the typical "Fellini" comedy "We All Loved Each Other So Much" 14 years later. , Which is dramatic in itself.
Speaking of the storyline of this film, it also seems very simple. It is nothing more than a story between a woman (Luciana) and three men who pursued her. The woman first fell in love with someone, then moved to another love, and gradually did not believe in love; finally she realized that it was the same That person is true love... However, in the comical plot, we can appreciate the director's good intentions through a specific analysis of a person. It turns out that this is really not a simple romantic comedy.
Let me talk about the three suitors first. They used to be comrades-in-arms, and they went their separate ways after the victory of World War II in 1945.
The male number one, Antonio, became an assistant to the general doctor at the San Camillon Hospital in Rome after the war; the
male number two, Gioni, obtained a bachelor’s degree in law; the
male number three, Nicola? However, he got married hastily after the war, and at the same time, he was also a proletariat full of idealism.
Of these three characters, the male number three was naturally the representative of the proletariat at that time; the male number two, we learned from the later plots that he represented the bourgeoisie; and the male number one actually became the most complicated one. figure. He is ordinary, has no radical political opinions, and is not an ambitious entrepreneur. Italy after World War II was faced with a dilemma between monarchy and republic. The director might want to use these three little figures to map out the three types of people in Italy at that time: reformers, capitalists, and real people at the mercy of others. And Luciana, the pursued, seems to be a reflection of a better future.
Thus, the so-called relationship between three men and one woman has political implications for the proletariat, the bourgeoisie, and the centrist who will have a bright future. And this has become a highlight of the movie "We Are So In Love": no matter how great love is, it must give way to the tide of the times.
Next, let’s analyze the progression of the plot in the movie.
Luciana, a beautiful woman with fantasies about love. The reason why Luciana fell in love with Antonio (a man who is incomprehensible) as a doctor's assistant may be due to Antonio's romantic confession after the two watched a drama. This confession imitates a drama they watched that night in a different style. The drama is full of inner monologues of characters, and during the monologues of the characters, other people on the stage seem to be frozen by time. Let 's take a look at this most classic love confession shot:
"I think I am in love with Luciana", and Antonio, who stands side by side with Luciana, starts a monologue.
Luciana seemed to be frozen by time, she was motionless.
I think Luciana fell in love with Antonio at this moment.
But Antonio was an ordinary realist after all, and the occasional romantic feelings at the time could not satisfy the sentimental Luciana. So in a reunion between Antonio and his comrade Gioni, Luciana was naturally attracted by the lawyer Gioni, who "has a talent for poetry and books" at that time. And when the two were about to tell Antonio this cruel fact, one of my favorite shots in the film appeared in detail:
Antonio was listening to his comrade Gioni confessing Luciana to him When the fact of falling in love, the calm scene is accompanied by the background sound of "dongdong"... In the end, the frequency of the "dongdong" sound is getting faster and faster, followed by a harsh blast. Gioni hurriedly asked what was going on. At this time, Antonio replied in a slightly self-deprecating tone: "This is the voice of heartbreak."
Under the fusion of the slightly exaggerated lens and the background sound, we see a bright and beautiful image of a broken lover. No wailing, no anger, only a harsh verdict from the God of Destiny.
Next, the plot continues to develop. At this moment, the third actor Nicolas finally appeared. With a beard and black-rimmed glasses, he is like a defender of idealism.
At a film seminar held by the school, Nicholas was expelled from the school for making radical remarks at the seminar. At that film seminar, it was the representative work "The Bike Stealer" by the well-known Italian director Desica that was screened at that time. Consistent with the film history data, after the film was screened, because the film strongly condemned the social unrest caused by the adoption of collectivism (similar to the socialist reform system) in Italy at that time, many film critics once accused the director Desica. The suspicion of vilifying socialism. And Nicholas, who has always been his own way, will naturally not give up his true feelings about this movie. So between ideal and reality, he chose ideal. After the discussion, he was expelled from the school. For artistic pursuit, he left his wife and children and went to Rome.
Luciana and Gioni at this time seemed to be in a deep and fiery love.
"According to your plan, get married, buy a car, have children, and not live under orders." Luciana once had such longing for her lover Gioni.
However, destiny made a fortune. As a lawyer, Gioni was attracted by his daughter when he was dealing with his client (the entrepreneur Marquis Erice), and soon married the daughter of the Marquis. Luciana was once again emotionally frustrated, and in despair she strengthened the idealist Nikolai who was also poor at the time. However, Luciana, who was completely desperate for feelings, was ultimately unable to be moved by Nikolai. After an attempted suicide, she decided to leave Rome. On the day of leaving, the lawyer Gioni, who had been married to the entrepreneur’s daughter, was in a corner with Antonio and Nicola to bid farewell to their common love, Luciana.
If the story ends here, it is naturally a very sad and sad story. However, the real reality is a journey full of plainness and plainness. The three men in the film go to each other, their stories are like three independent parallel lines, and they have to move forward under the urging of time.
The first parallel line: Luciana, who wanted to be an actor, was finally lucky enough to become a supporting role in Fellini's new film "Sweet Life" under the introduction of a manager. And this supporting role was also realized through her cohabitation with this agent. In the shooting of the most famous "Fountain Shot" in "Sweet Life", Luciana and Antonio once again met. At this time Antonio is still working in the hospital, and Luciana at this time, finally after this reunion with Antonio, she understands who is the one who loves her most. The two get married and have children.
second parallel line, Gioni, who married the entrepreneur's daughter, finally succeeded. "The loneliest rich man", this is Gioni's wife's father's most pertinent evaluation of his son-in-law. In love, Gioni and his wife have long been strangers. His wife first admitted that she had an affair, and then died in a car accident. I can’t forget the conversation scene between Gioni’s wife and his father sitting in front of the mansion after his wife’s death:
"What are you thinking? The rich don’t need to think about it. Being rich is enough. They will always leave". This is the sentence of Gioni's wife's father to Gioni himself, the most desperate sentence.
At this time, Gioni was silent. Will he remember the words Luciana once said to him: "This era is too cruel. We are poor but happy. What about the rich?". I think Gionni must still remember, but remembering at this time is more painful than forgetting.
The third parallel line is Nicholas, who dedicated his life to his idealistic feelings. In an event to win prizes on TV answering questions about movies, Nicolas once passed through the battle with his knowledge of movies. However, idealists may be destined to be alone, and the last question is the "Bicycle Thief" by Desica.
The movie at that time is already known to everyone in Italy. But there are still divergent opinions about some of the opinions in this movie. Nicholas, who went his own way, still insisted on his views on the film even though he knew the so-called "correct answer" to the last question. As a result, the millions of wealth in front of him missed him.
In the long-term parallel progression, the three parallel lines finally met after twenty years: Twenty years later, the three old friends reunited with infinite emotion. Gioni is the heir to the Wanguan family property, and at the same time became the loneliest person in the world; Nicolas always indulged in fantasy and talked about this life; only Antonio, the poor man, had the most fulfilling life: when While Gioni was doing nothing in his huge villa all day long, while Nicolas continued to indulge in his unrealistic fantasies, Antonio at this time was queuing all night for their children to get into a certain school. Smart you, tell me, who is the happiest person?
At the end of the story, Antonio, Luciana, and Nicola stopped in front of Gioni’s villa: They knew that for the rest of their lives, Gioni would never have an intersection with them.
"Let's go," Nicola said to Antonio and Luciana.
The next scene is a scene where three former comrades in arms sang an Italian folk song several times during the war, and the three left sadly.
Let's go, this is the end. The cruel reality is always cruel, but the future life still has to be faced.
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