In the movie, Tarkovsky had to watch it with faith. It's not because it's already supernatural, but because it's hard to read and appreciate by people who lack faith. Take "Sacrifice", why did Alexander burn his home? Why was he put in an ambulance by his family as a lunatic? Why did he go looking for the "witch" Maria that the postman (the devil) called? Why can being Mary's lover save the world? The answer to the question lies in the title of the film - "Sacrifice", which means religious dedication and sacrifice. As long as we pour a bucket of water into the Japanese tree every day, the tree will come back to life one day. The meaning of life is tied to faith. This unconditional act of giving is faith. Tired of living a satisfying and hopeless petty bourgeois life with his wife and daughter day in and day out, Alexander (Tarkov himself, who knows he has cancer), with a desire to save "the end of the world", does terrible things. Arson act, and look forward to the new life of mankind. The child lying under the tree represented the hope of mankind and said the first sentence: "The beginning of man is language, why? (The Bible is translated as the beginning of the Word)"
In the last days of Tarkov, he could not Don't make a break for your own film art. Choosing Alexander, who has a similar experience with Dominico in "Nostalgia", as the protagonist, Tashi expressed his pre-existing worries about the future of mankind through his muttering and his crazy actions. Josephson recalls that Tal often spoke sincerely about his worries about modern technology, nuclear weapons, and that his complex innocence had a major influence on Yoo’s thinking, which remains to this day. I saw at the end of the film, Alexander was wearing a Taoist robe, with a yin and yang symbol on the dark background, which reminded me of the way that Ta's director did not control the actors in his later years. Each actor has its own special value. He focuses on the expression of artistic conception, such as the use of classical art and Bach music, to convey the cultural nostalgia of the end of the century; Tasman's concise Vermeer-style room furnishings, one window and one bed; The insertion of the black-and-white film of the Spiritual Church fully revealed Ta's state of mind in his later years and the anxiety of rushing to make a conclusion.
Pursue simple and noble colors like religious paintings, and use Nivester's superb long lens (for example, in "Seven and a Half", it is appropriate to describe Ta's lens style as a long stare, without peeping, browsing, Instead, he observes slowly like the eyes of a philosopher), which fits perfectly with Ta's ideological expression and makes an important film called "Nostalgia" prequel (in this film he finally burns himself. "Sneak" also related). I see films like this as an open-ended philosophical conversation, from the very beginning about the sense of time (always waiting for the real life), death, reincarnation (perhaps what Tower Fantasy did with Otto) Conversation), the world-weariness and condemnation of the protagonist’s monologue, the noble spirit of appreciating classical paintings, Qi prayers—reverently turning to belief in gods, expressions of fear, etc. The Russians will surrender to piety after all, I think, and their profound societalism is combined with the Swedish petty bourgeoisie that pays homage to Bergman. Makes me wonder if I should define Tas as a savior or a fugitive, or both?
Appendix Ta's interview with Gideon Buckman: "I too, like Gorchakov, stayed in Italy forever, as if fate had decided it. Anatoly Soronitsyn's death deepened me I imagined Gorchakov in Nostalgia and Alexander in Dedication. He died of cancer, and so did me a few years later.”
"I never think about how much it will cost at home. My protagonists are mostly underdogs, and I love watching how they resolve conflicts with turbulent social circumstances, whether to back down or stick to their principles. My good friend Tonino helped me design the Go, a professor of history, whose only confidant is Dominique, a lunatic in the eyes of the residents of Tuscany. He used the apocalypse to scare his family and locked them in their homes for seven years. He always sought the meaning of life, in his On the other hand, he is curious and sensitive like a child, he is not mentally fragile and experiencing a profound life crisis like Ge, but is simple, straightforward, and believes that his awakened subconscious can Find a way out of the ills of the whole society. The strong in life are those who can always maintain childish trust and intuitive beliefs. Go happens to lack confidence in his own actions, so he is very fascinated by Duo. I consider myself a An intellectual with deep ties to the land and the people, I must do my best to create the spiritual art of the times we live in. I try to use the logic of the subjective—thoughts, dreams, and memories—in place of the logic of the subject.
” Alexander is an essayist, drama critic and university teacher, he has experienced both great evil (playing RIII) and great good (Mishkin). And facing the future, represented by Nietzsche expert and scholar Otto, He says I'm afraid I don't believe in God. Don't be sad, don't be distressed, don't expect anything, says Otto. The house is the cornerstone of the structure of the Tales' film - representing kinship, family and generations. Alexander's English wife Adelaide (Susan Fleetwood) Undoubtedly a beauty back then, as well as unsatisfied in life as Italy's Eugenia, and dressed in the same dashing attire. She has an adult daughter, Marta (Franzen). ornament. A product of a previous marriage), and a character is Victor (Walter), the family's doctor and friend. They lead a leisurely life, drinking tea or coffee outdoors, and are deeply attracted to each other. Mother and daughter There is a hint of jealousy for the handsome doctor. The war announced on the TV did not immediately bring a doomsday atmosphere, but the wife's hysterical bout, her bare smooth legs dangling, venting her inner secret Fears and lusts: attachment to the doctor, jealousy of the daughter, dissatisfaction with the husband. The camera moves again to Leonardo da Vinci's "The Doctor Comes By", which means something important is about to begin. Alexander's Subjectivity The black-and-white footage shows him in the apocalypse, like a creator."
2008? month
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