The movie "The Forgotten People" tells such a story. Three boys, Haibo, a bad boy without father and mother, who escaped from the juvenile detention center is yesterday, Pedro, who doesn't know who his biological father is and who is hated by his mother, is today, a country outcast who was abandoned by his father, Little Eyes is tomorrow. No "father" is their common feature, their mother is dead or sick or powerless, similar fates, the same social role, make them consciously classified, repelling and attracting each other, those who throw stones have an unknown tomorrow, take The stone is thrown at the tyrannical to be destroyed.
Apart from the three children, among all the participants and onlookers who are inseparable from the relationship, the intention of creation is also very clear. This group of people also have one thing in common. Be a man in the open and be a ghost in the dark. The vicious circle caused by the "kick cat effect" is the survival law of this ecological circle. Sick psychology is raging like a plague in a sick society. All the manifestations of Loser are universal human nature in this film. Only those who are weaker or lower than themselves will dare to vent their dissatisfaction and anger, and take out their anger at all things that go against themselves. Violent PK has become a means of controlling everything.
If there is no civilization, there is no such thing as not bullying the dark room. This does not need to be proved. It has also been said that shame is the source of all virtues. Those who are hungry, those who are physically disabled will be trampled on, and naturally there is no God's love in their eyes. The blind old man who is performing arts is bullied by children, and he will stretch his dirty claws to weak little girls again. Society does not have a fair reputation. In order to avoid risks, innocent and simple people will choose to be silent and apathetic. When the old man and his granddaughter threw Pedro down the hillside, humanity here was completely lost. Therefore, the little eyes that come from far away and do not belong to this place will eventually leave to find "father" and go to a place with meaning of survival.
It can be seen that the flaws in human nature are not to deepen the characters, but to set off the riddled holes in the third world. The slums of Mexico 65 years ago, where the poor, weak, slaves, beggars, prostitutes, and thieves gathered, presented two extremes of ecology. People live in despair and hopelessly, and reproduce without restraint. The misfortune is worth showing off, the lives of others are regarded as unworthy, the happy way is to bully the weak, and the essence of parenting is to lock up in a cage.
It is not difficult to imagine that knowledge and civilization are locked in the shackles of survival in the small dark room, and the savage disaster is the first to devour the children. Please choose between A and B, either do child labor and be enslaved, or robbery from street rats and dogs. Children, they are like piles of rubbish thrown in the streets, waiting for the raging wind to whip up their anger, insolent in the filthy sky, and finally fall. This is a swamp that devours life, a hell on earth with no exit, no matter how innocent and pure life is thrown in, he is like a mud cow into the sea. I heard Bunuel shout like this, the swamp must be turned into a green grassland, otherwise the endless life will be doomed. Where has knowledge and civilization gone? Where are the social responsibilities of adults?
Since this is a Buñuel movie, I decided to have a dream with my eyes closed while I was typing. Had to disturb Buñuel in the other world, I dreamed of him, the pointer in the dream was set before the movie. At night, Buñuel removed the city's abandoned groundwater well cover, lying at the wellhead and chatting with "the second generation of wells", talking about the "laying hens" who wanted to fly in the hands of the second generation of wells; after a while he squeezed into the underground passage again. The ranks of the homeless, with old newspapers under their bodies, curled up inside, sharing a cigarette with them, with a dog without an owner lying beside them. During the day, he saw seven or eight-year-old children sneaking into the morning market before dawn to prepare for a day of "pickpockets"; then he went to a dilapidated building to be demolished and saw five or six school dropout teenagers molesting A girl who suddenly turns into an angry bull and a bloody bullfight show begins.
Then, he saw an uncle walking pigeons, silently walked over to open the door of the bird cage and let the pigeons fly. I was still in a dream, he suddenly knocked on my keyboard and asked me, living in modern times, do I have a good childhood? Do you have a happy growing up time? Even if I can't give him the answer he wants. He believed that I could provide the indirect feeling he needed. He asked me if I had seen or believed that in this information age, there are high-tech rationality and high-civilized morality to protect the law, but there is still a miserable world, and there is still life In vulnerable groups on the fringes of society, barbarism is also highly evolved.
There is no doubt that Buñuel would never ask such a naive question. I wanted to tell him half a century ago that injustice and poverty were stuck on the wheel of social progress and never got rid of it. A common context for barrier-free dialogue. That's how when I woke up and had the image of "The Forgotten People" in my head, I was able to paint in and remake the story into a modern version that could restore all the misery in the movie to the smallest detail. For this reason, I keep sighing that the "desperate environment" Buñuel worries about has never been optimistic. What Buñuel sees is a reality that has been repeated in human history: a desperate situation, and a group of people who are desperate for the situation.
The film "The Forgotten People", shot in 1950, was another masterpiece that consolidated his personal style after Buñuel established the "father of surrealist cinema" through "A Dog Called Andalu" and "The Golden Age". Influenced by Andre Breton, in this film, after reducing the proportion of surreal expressions such as dreams and instincts, he expresses his sense of responsibility as a member of society with the realistic face of "documentary" . The logic of the story proves that his storytelling is not only imaginative, but also coherent. Most of the children who cooperated with the performance were local teenagers, and the children appeared unadorned, which became the most persuasive highlight when describing social issues.
In addition, Buñuel's personal style is the most powerful form of storytelling. The dreams he sets up, the animals and beasts he alludes to, and the "symbols" he repeatedly emphasizes can almost all be another world for people to explore outside the movie. I'm still not quite sure about the relationship between the sack in "Hazy Desire" and the heroine's white nightdress, as he gave me the illusion when he cast two actresses in the same role.
Just seeing three of Buñuel's films can probably leave such an impression. The palms are full of ants, bloody dead donkeys, slapped hens, cows that can be milked, screaming dogs, aggressive roosters, etc., pianos, broken drums, guns, stones, naked bodies, Women's thighs, breasts, buttocks, private parts, eyes, teeth, etc. He uses all elements that can activate the imagination to describe the world as he understands. There are also close-up faces in many of Buñuel’s films, most of which are vicissitudes and rough smiles, with a raw desire for aggression in their eyes, revealing bad teeth with gaps and tartar.
If the characters in the movie "The Forgotten People" are eliminated, and only the animals are left, the story of "The Forgotten People" is like this: some chickens lay eggs, some chickens are aggressive, some chickens are killed, and some chickens are killed. Treated as pets, some chickens want to fly like pigeons. But the chicken only knows that the dove can fly, but it does not know that the dove is tied to a rope, just like Jesus on the cross, it only has the value of self-sacrifice, and freedom is obtained at the price of death.
Or the fate of the cow is good, and it is "enshrined". The cow is the source of nourishment for desire, for its milk can enter the belly of the wicked to strengthen him, and it can be applied to a girl's skin to smooth her flesh, and it can save the life of the hungry so that he can continue to breathe, It has no position, it is good when it is with the good, and it is bad when it is with the bad. The relationship between the donkey and the god of death seems to be the strongest, either carrying the corpse as a coolie for the god of death, or waiting for the fate of killing the donkey.
Unexpectedly, the dog that was domineering in the chicken coop would be killed by the gun of the "owner". In fact, I like another version, Pedro killed Haibo, and then went to the Laogai farm. This irony is the real adult world. Converted to animal slaughter, the chicken that wanted to fly suddenly turned into a pigeon, it killed the dog that was so evil in the bone marrow, and then was tied by the owner, and turned it back into a chicken again, will this happen? It's utter despair.
In fact, after reading "The Forgotten People", I thought of Julian, the only "supporting character" who was labeled "pursuing a normal life", who lost his life for no reason, even if there were "antecedents" and "consequences". I would have thought of Lorca. Then I thought of the complicated and interesting emotional entanglement between Lorca, Buñuel, and Dali. The three began as close friends or a more subtle relationship, and in the end, the poet was assassinated, and the painter and the filmmaker were forgotten in the rivers and lakes. Whether it's the "gay" legend of Logar and Dalí, or the complete breakup between Buñuel and Dalí, their stories always amplify my curiosity and make me suspiciously want to play from their respective artistic achievements Unbridled imagination.
PS: When the bad boy Haibo first appeared, he had slightly long slanted bangs and three-seven splits, a tight T-shirt, and asymmetric overalls. The dress was quite stylish. The style in 1950 was very cool. Depero added a rag-style cape, which is also quite individual.
View more about Los Olvidados reviews
