Self-preservation instinct hidden under group madness

Shanon 2022-01-29 08:07:08

For films depicting historical changes, I have only one personal wish that is optional, that is, the creators can put their own subjective judgments on historical issues undisguised, but don’t try to do things that are suspected of instilling other people’s ideology. summary summary. In this regard, Bertolucci seems to be the most misunderstood "opinion" forerunner. Whether it is "The Eve of the Revolution", which is a very strong study, or "The Last Emperor", which has a wide audience, or even the sighing work "Dream of Paris" when looking back at the old age, and "The Companion", which is a collection of audio-visual languages, all have the same Either light and romantic or extremely intense expressions rely on the ideological judgments that Bertolucci has long recognized. However, if we ponder carefully, we will find that the above-mentioned works that seem to output political viewpoints as the main purpose of creation are all inspired by extremely personal personal emotions supplemented by the source of inspiration for the construction of the text. The ultimate expression of human thought. In the progress of the plot of "The Last Emperor", whenever he intends to express the gradual progress of the span of the times, Pu Yi's helpless and dazed state will instantly lead the audience to leave the heavy history for a while and carefully feel the unique charm of personal narrative. In "Dream of Paris" set against the background of the June 8 student movement in France, when the characters are unable to gain the upper hand in verbal communication due to political differences, the three young people who are "trapped" in the ideological prison will substitute hormonal impulses for rationality Unbridled sway of youth to show the unwillingness and degeneration between lofty ideals and real disillusionment. In "Concurrent Man", which is a culmination of techniques such as scene scheduling, new wave jump-cut editing, and light and shadow construction of an ideographic system, there are still personal emotional flashes that are separated from the main body of the narrative. In the middle of the film, the protagonist Jean-Louis. Trandignan and his wife Sandrelli took the train to Paris to complete their opportunistic career. At this time, Bertolucci reversed the previous tone and arranged for the couple to be full of tenderness in a soft light. The lingering joy of the scene, and let the protagonist know that his wife is no longer a virgin. This is by no means an artistic innovation, but it does endow the follow-up plot with a more ambiguous fulcrum of erotic entanglement, and also makes the film's final result of the intersection of group thinking and individual will become tragic and abnormal. In "1900", the emotional impact of these fiery characters fills the whole film almost in the way of replacing the main body of the narrative. The audio-visual passage that fascinates me the most is the interior scheduling of Depardieu and Sandrelli when their relationship is getting stronger. The camera followed the two of them and did a proper push and pull, and then moved to bring out the revolutionary logo waving a red flag on the wall, and implemented a short-term "you" and "me" under the "flag". In the end, the two danced together gracefully, and the camera panned around the house slowly and slowly, landing on a pair of proletarian beauties who had already "outed the circle" from the camera but had an extremely firm belief. Seeing this moment, I can't help but sigh that the epic video works may be the pain points of those beasts who adapt to the times with countless small and subtle fragments of personal love. Bringing romance into reality, making lust and politics inside and outside each other, only Bertolucci can handle this scale so well. It can be seen that Bertolucci hides a soft heart driven by desire under the appearance of being "kidnapped" by the output of political views, and fills this enthusiasm in the text framework of various times and backgrounds , to prop up one political argument after another that abandons the lofty posture and makes a lot of sense. If you try to substitute Bertolucci's works with a movie-watching mentality that appreciates the intensity of emotion, you will find that "Nineteen Zero" is almost the most comfortable and full of emotions in his creative career. The film takes two families as the narrative core, bringing out the differentiated perspectives of the two classes, allowing Alfred and Olmer to reach across forty in the ideological confrontation between you, me, and you. Years of Italian ideology unfold. Whether it's the alternative battle caused by catching frogs when they were children, the line meaning of the train lying on the rails and covering their eyes or they would be blind, or the way of thinking of each other's defense of each other's class by fighting each other, all have the creator's grand ambition to outline the picture of the times with points and faces. It also inadvertently reveals Bertolucci's deep concern for those who are trapped in turbulent times, and the spiritual essence of the two sides of communism and fascism that his implicit expression refers to. And the intense depiction of the hateful side of the proletariat does not, in my opinion, count as Bertolucci's political ambiguity On the contrary, he felt that he more sternly expressed the group root that has been labelled all his life. The passage criticizing the fascist Akira in the film was quite shocking to me when I first saw it, but after watching it again, what attracted me more was Olmer's unconscious and unrecognizable way of begging for Alfred. The individual "awakens consciousness". The confrontation between two close friends, or two thought-forms mixed with sensibility and rationality, temporarily relegated the grand narrative to the fleeting personal feelings, and finally pointed to the self-preservation behind the power of human beings. instinct. In Bertolucci's view, no matter what class status one is in, one cannot escape the subconscious domination of self-preservation instinct. It is completely different from the movie-watching experience dominated by strong emotions at the first viewing, but after viewing it again, it is believed that there are some hidden hidden expressions that are unknown to the public. In the process of historical changes, the group of people who try to never be left behind are often not the elites who have the right to speak, but once they have the ability to fight against the enemy, they will instantly integrate into the enemy's thinking and occupy the moral high ground, waiting for an opportunity. Eyes" of the mediocre. In the end, under the attack of fascism, the socialists who were likened to have "holes in their pockets" also took steps to "fix" their misery and move closer to it. Akira, who had long believed that fascism would defend his identity as a rogue proletarian, was eventually condemned to the ground by other "self-protectors" who believed in communism without exception and suffered the consequences. It is undeniable that he is a loyal fan of those who rely on ideological changes for self-interest, but I think deep down in his heart, he thinks that this endless awareness of exploitation and class climbing really contributes to social progress. Of course, in the eyes of the audience, Akira's inevitable failure seems to be an inseparable fact that deserves our permanent criticism. To be transparent, "The Companion", whose stance is privatized to the extreme, is more likely to evoke a sense of identification at the physical level. The fascist played by Jean-Louis Tradignan can clearly see the crazy behavior of a person who follows the crowd, and the criticism revealed by his clear position is self-evident. In "1900", both Olmau and Alfred have their own limitations due to their different class attributes, which makes it difficult for the audience to criticize them regardless of the film's extremely successful empathy effect. So we wonder which side Bertolucci is on and which view he is defending. But in my opinion, whether it is Olmer Alfred or even the wicked Akira, they are just like the incarnations of countless Dominic Dominic with symbolic identities. Sanda is generally a part of the historical form that performs its own duties, whether it is beneficial or detrimental. Therefore, I think it is a bit inappropriate to label Bertolucci, who is the Italian Communist Party, as not having a firm political stance, but I think that the soft expression and slightly ambiguous thinking attitude can still be seen in "1900" of. This is also the unique characteristic of pan-political works, that is, the creator leaves room for the audience to feel "what you see, you are what". When criticizing, do not leave reflection behind, and when reflecting, do not forget to suspend criticism. This is the ideological peak that an image creator who is known for exporting political views should try to climb. I personally think that at this point, few people have done more than Bertolucci.

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Extended Reading
  • Allen 2022-03-27 09:01:20

    Yuan Dan is a big hand, but the narrative is too loose. I have thought for countless times that it would be better if the tension between the two male protagonists was more convergent, but I didn't perfect the feeling of fateful fighting in the setting, but think about it like this The flow of life is not bad at all. I still don't understand why I cast two non-Italian actors as the male protagonists, and dubbed them later, but I like Depardieu very much. There is a sense of Su in the mania. The role of the landlord's son is not 100% suitable for you, but it proves that he He is a mature and good actor, and the more he plays in middle-aged and old age, the more quiet he is, stirring cowardly silence and innate arrogance. Like the attitude of the servant to the young master: friend, my eternal enemy, curl up the shadow of your arrogance, under the lamp, I would like to explain why you never knew everything, like a childhood bedtime story.

  • Enid 2022-03-20 09:02:54

    It's so pretty. It took five and a half hours to snap my fingers, and after reading it, I found that my waist was about to break. I always feel that Bertolucci has a political position but is not firm enough. This Italian epic about the first half of the 20th century is his most explicit one. The rich young master and the poor peasant son who are brothers and sisters, the class gap is personal and emotional. filled. Fascism was born from the bully rule of the landlord class, which is rarely seen from this angle

1900 quotes

  • [last lines]

    Alfredo Berlinghieri: The Padrone's alive.

  • Giovanni Berlinghieri: [after a big hailstorm] What's happened? Lost your tongue, have you? Go head, tell them! How much grain have we lost? Tell them!

    Leo Dalcò: Half.

    Giovanni Berlinghieri: So, it's simple-you'll have to be satisfied with half pay. Take it or leave it.

    Peasant: When we harvest double we don't get double pay.

    Giovanni Berlinghieri: If I were to be honest, if I were to look after my interests alone, I should ditch you, fire the lot of you! Especially all you day laborers. And if you here weren't such an ignorant bunch, you would thank me! Because the one making the biggest sacrifice is me. What's the problem, anyway? Who gives the orders here? Who's the padrone? Hey you!

    [points to the Peasant]

    Giovanni Berlinghieri: We've lost nearly everything, didn't you hear? And yet, your ears are both big enough!

    [the Peasant cuts off one of his ears and hands it to him]