How to understand the ideological expression in "The Happy Lazzaro"?

Kellie 2022-04-04 08:01:02

Inviolata, religious nostalgia, collectivist commune When the contemporary unemployed in the humble shack are hypnotized by the performance of the old landowner, time is reversed in a fleeting collective hallucination. The moon rises again in the countryside and mountains, people's faces become young, they seem to return to the peaceful Inviolata of the past, despite the debt and loss of freedom, but self-sufficient, without outside interference, but now it has become a place. An untouchable (inviolata), unreturnable paradise. In the Western context, inviolata undoubtedly has a distinct religious nostalgia. But the director is not a cultural conservative, and she will never ask women to return to their families to have more children and not to show their faces in society. Just as she bluntly revealed that the feudal exploitative relationship of the landed aristocracy to the peasantry is not worth nostalgic, she also maintains a very clear understanding of religion as the spiritual opium given to the oppressed by the ruling class. The Marquise (and indeed all rulers) knew this as well. Therefore, she is a good teacher and is happy to teach peasant children. Those biblical stories and medieval scholastic philosophy are undoubtedly the best materials for instilling a sense of hierarchy. Just as today's bourgeois public schools teach the poor a civilization of obedience and patience, so did former slave owners through church priests and governesses. And in her day-to-day indoctrination of the maids, the hidden portraits of the saints lie all the time for the Marchioness to play a devout believer - now we see the purity and nobility of most of the art. In this case, what does "nostalgia" refer to? This requires us to touch the Inviolata more carefully. Although the peasants lost their liberty as the property of the countess, there was no direct interference with the day-to-day organization of the village. Even the manager, Nikolai, was merely an agent of the Marchioness for oversight and settlement. So we see that the villagers actually pay attention to a mainly collectivist principle of production and life: the labor of planting, handling tobacco and other crops is shared by all the villagers who have the labor force (Lazaro did not organize because of the trip with Tancred. Tobacco has been condemned by everyone), grain and livestock (including the sheep that Lazaro is in charge of) are communal property, the elderly (the eldest grandma is the most spacious) and the sick (watch out for the feverish Lazaro) The breakfast that Luo received) was obliged to take care of, and although the task of raising the child was mainly undertaken by the mother, other people also took care of it in special circumstances. Therefore, it is not difficult for us to understand that in a city that is not acclimatized to the soil and water, Anto insists on taking in the resurrected Lazaro, because he is inseparable from the collective in the past. part of the cut. On the other hand, the village no longer exists, and the young Lazaro is the only remaining miracle, and thus is given the image of a saint in Anto's eyes. Like Jesus' disciples, she ordered others to kneel. But it wasn't the director's order after all. The director is keeping her cool here, and her task is to show the inviolata's complex haunting as a ghost with its people of old. Therefore, we also saw other old people's different attitudes towards Lazaro: from a more realistic point of view, they demanded the expulsion of Lazaro, and made the opposite designation to him - the devil - the person who divides food and quality. The devil of realism and not the devil of soul-devouring romanticism. It is no accident that God disappears at the moment of individualism. This is the triumph of atheistic urban capitalism over theistic rural feudalism. This victory is visualized in the cinematic lens as 59: 35 Helicopter irreversible mockery of sticks thrown into the sky by farmers. This scene reminds us of the bones of the ancestors of mankind thrown high into the sky in "2001 A Space Odyssey", and in the next second it becomes a space station suspended in the universe. Nothing can express the leap in human productivity more directly than this (actually instrumental rationality). The shots of "Lazaro" undoubtedly show the irresistibility of capitalism, but compared to Kubrick, it has a more complex aspect. When the red signal tower light occupied the hilltops of inviolata, the technological messianic arrival "rescue" the exploited peasants, as the peach blossom outside capitalism disappeared forever. A new era has come. 2 cities, third world immigrants, free god dead. Atheistic religions replaced theistic religions. The new ideology teaches people to follow their inner desires, and desire is freedom. Note the Countess' life motto: "Human beings are like animals, and to give freedom means to give them the ability to realize that they were slaves, which is why they are immersed in suffering. Now they suffer, but do not know the truth: I exploit them, and they exploit the weaker, this is a food chain that can never be stopped." This is the voice of the ruler who once stood at the top of the food chain: Compared with being oppressed, the freedom of clothing and food is more painful, Just let me make this sacrifice, and leave the happiness of ignorance to those of you who are hungry—faith is more important than knowledge. However, the roar of the machine soon drowned out the voices of the declining aristocracy, and the capitalists entered the stage of history with new forms of exploitation. They freed the peasants who had no personal liberty from the landowners, then proclaimed liberty to all, that no one was the property of another, and went wherever they wanted. The peasants were driven to the cities to become hired workers in factories, a world that was said to be equal and fraternity. Let’s take a look at the scene in the film that best exemplifies capitalist freedom. 71: 49. Immigrants of different ethnicities converged on the same one-way road from all directions (rural areas), and Lazaro, who was sitting in the capitalist signal tower, was dragged to the end of the road: a "free" labor market. Here, the migrants freely sell themselves to the agent of the capitalist, begging him to deprive them of their liberty for a few hours so that they can hand out euros to buy food. Ironically, the agent of the capitalist and the feudal lord was the same. It is a pity that Mr. Nicholas has done too many accounts for his master, and he no longer recognizes Lazzaro of Inorata. "No, you're not a free person, you don't deserve to be in this free market, and slaves like you are not accepted here." This is what he was trying to cover with a loudspeaker - no slaves here, no slaves here, no... … Let’s go back to Inviolata again – although this is not allowed by the capitalists, this is the only place not to go, the place to be destroyed if found. In the taboo of it, we find its new meaning—the third world under the shadow of the Orientalist perspective. When the western police (whose ancestors were the first white people to colonize) came here, what a backward scene they saw. How foolish and painful these people are, let us free them with cannons and muskets! Then they acted as Moses (Master Tancredi) of different races, leading them hastily to leave the Red Sea and go to Elysium. This is the untouchable paradoxical taboo in the Western world today: untouchable places that do not exist. The following facts do not exist: we need immigrants to sell cheap labor, we need immigrants to be a punching bag for voters, we need immigrants to prove our civilization, we need immigrants to prove capitalism... but you, outsiders who take handouts, we don't need you say. Listen to the news, it has covered you well, it couldn't have been better...shut up! Hear us: you are "54 laborers", "forced to work without any knowledge of the existence of pay", you used to "live in primitive, uncivilized cabins" but now exploit your female bosses Arrested, justice done, welcome back to the glorious and "happy" world of human civilization. (Video 82:35-83: 31) What this narrative obliterates is another possibility: there should be no slave owners in Inviolata, no slave owners of all, including you (the Western capitalists). There will develop true freedom, the free development of each is the condition for the free development of all, a union of free men, as Marx said. This is the imagination declared untouchable by capitalism, and this is the freedom that the ruled class declares once again not to give alms. When we see Anto muttering and reciting the news in the newspaper along with his son's reading, and really believe the lie of liberty by repeating it over and over, we should realize that the wolf of capitalism is stronger than the past. The old countess was far more terrifying and cunning. 3 Tancred, Lazaro, the Wolf Now we'll see how the most comical character in the film, Tancred, drove Lazaro's death. The cross on his chest made him truly believe that he was a knight who saved the barbaric Arab world. To a certain extent, the globalization of capital that has been accompanied by the spread of neoliberalism since the 1980s is like a new round of crusades in the West. From time to time, it manifests itself as a localized hot war, revealing the Western interests behind it. "Benevolent knight, so good at fighting, so different... For all the suffering people, this twisted darkness... We shall triumph!" This is Tancred's tribute to himself, as he claims to free the slaves, But he was not willing to shed a drop of his own blood, and asked Lazaro to do it for him. He provides a weapon of liberation, but only a poor slingshot. This is the tribute the free world of the West offers itself, fighting for honor. And this personal friendship, which recognizes each other as brothers, separates Lazaro from the collective life of the village community. It's easy to understand what it means to have this relationship in a young man with no parents and no private family. When the only response to his efforts was Tancredi's rant, he began to realize a different self. 51: 17 There is a Lacanian shot of Lazzaro looking at his own face against the surface of the pool. Tancredi is the first other in the mirror image. After that, Lazaro, who had a fever in the rain, was punished by the group. Everyone was secretly annoyed by his abnormality in the past few days and refused to place him in their room. It was also that night that the red light of the signal tower appeared for the first time on the hilltop of the village. It was on the same day that the desire for individualism and the development of capitalism came one after the other. The difficulty here is that the director once again shows her multi-faceted grasp and presentation of complex ideological issues. Let's pay attention to the theological discussion that the Marchioness taught her children: "Those who really know themselves become more humble in front of themselves. It is not a good thing for human praise... If I stand in the presence of God , that will judge me by my actions. Quenching the thirst for knowledge as it causes great distraction and disappointment... A humble farmer who serves God better than a brilliant scientist. Who Ignore my own cultivation and investigate..." (55:28-56. 27) The clip here is also interspersed with Tancredi's phone conversation with Teresa. With the advent of the helicopter, this passage and the production relations behind it were condemned as absurd by the state power represented by the police. But if we look at this passage in terms of the entire film, it constitutes a strong inquiry into the endless technological progressivism brought about by capitalism. After the slavery of God is removed, the price is that the individual responsibility and love for the community is also stripped away, and at the same time we no longer understand the unknown, do not take this risk, and let the truth fade away. When the bourgeois rulers monopolize the truth for personal desires, how is that different from a countess who veils the truth? This questioning also forms part of the director's self-reflection in the center of the West. It's just that the director understands that this kind of late reflection is impossible to save the first death of the Lazaros. Capitalism has finally completed its globalization. Now that we look back at Lazaro, we shouldn't think of him as a saintly character who never changed from beginning to end. When the wolf awakens him to contemporary society, he actually represents an absent inquiry from the old age ("pre-modern"), but is thus also a declining marginal person who cannot understand and enter contemporary social relations in search of struggle. When the director arranges for him to demand the return of the Countess's fortune at the bank -- a symbol of financial capital at the top of the food chain today -- his only weapon is the old slingshot. He thought that what he asked for was happiness, but what he experienced must be misfortune. This misfortune, like asking a medieval knight to drive and sell insurance to redeem his lover kidnapped by a gangster, he has no choice, not in the first place. For if the white-skinned Moses had not followed closely, the restored sea would have swallowed him immediately. Behind him, Moses said, is the eternal end of history. Who wants to be left in the dark? But this is another "big lie". In the end, the director left hope to the Antos. They lost their (privately owned) music and now Lazaro has given them (everyone) music (gospel) and they can create happiness in Inviolata. Only from this point of view, Lazaro is happy, his resurrection points out the new history of man, and his death heralds the end of the old history. This happiness is short-lived, but beckons eternity. The wolf left the human city when it saw the disciplined western citizens (civilized thugs) in the bank turn their fists and feet on Lazaro. The West - a big bank surrounded by security gates and anti-terrorist facilities (and a border wall), since it is the second Calvary, it will be the next Gomorrah. This is the moment for the wolf to come out. it would love to be at gomorrah Escape before destruction. Yes, the wolves can't see the Antos, only know the end of the world, not the power of the people. 4 Tarkovsky, Soviet Union, China There is a lunatic in "Nostalgia". In order to prevent his wife and children from being polluted by the depraved world outside, he imprisoned them at home for a long time until his family was rescued by the police. Eventually, the madman delivered a speech about the disintegration of humanity on a statue in the Roman Forum, and set himself on fire to the sound of "Ode to Joy". Is this Tarkovsky lunatic a radicalized Lazaro? And his house turned out to be an Inviolata? In the Soviet Union at the time, religion was undoubtedly such an inviolata, which drove Tarkovsky to flee to Italy. Today, however, the socialist path and revolution, with the Soviet Union as its (paradoxical) precursor, has also been classified as inviolata by the rulers. Isn't this a profound lesson? We allow the degenerating bourgeoisie to blacklist everything unknown and alien and lock society into a safe. We run our lives as private property like bankers. But the future—if there is a future, it must open up in Lazaro, whom we call a terrorist. Indifferent, we are undoubtedly the accomplices of the new-age countess. The story also happened in China. In China today, the dusty history of socialism seems to be permanently frozen. People are driven out of the inviolata and handed over to the myth of material development that is promised to keep going, as if that's what Marxism is all about. However, the young people of the July South have resurrected Lazaro (or more like that madman?) in the reality of the storm, and then passed away, what choices should we make as Anto? Tarkovsky, Soviet Union, China There is a madman in "Nostalgia", in order to prevent his wife and children from being polluted by the depraved world outside, he imprisoned them at home for a long time until his family was rescued by the police. Eventually, the madman delivered a speech about the disintegration of humanity on a statue in the Roman Forum, and set himself on fire to the sound of "Ode to Joy". Is this Tarkovsky lunatic a radicalized Lazaro? And his house turned out to be an Inviolata? In the Soviet Union at the time, religion was undoubtedly such an inviolata, which drove Tarkovsky to flee to Italy. Today, however, the socialist path and revolution, with the Soviet Union as its (paradoxical) precursor, has also been classified as inviolata by the rulers. Isn't this a profound lesson? We allow the degenerating bourgeoisie to blacklist everything unknown and alien and lock society into a safe. We run our lives as private property like bankers. But the future—if there is a future, it must open up in Lazaro, whom we call a terrorist. Indifferent, we are undoubtedly the accomplices of the new-age countess. The story also happened in China. In China today, the dusty history of socialism seems to be permanently frozen. People are driven out of the inviolata and handed over to the myth of material development that is promised to keep going, as if that's what Marxism is all about. However, the young people of the July South have resurrected Lazaro (or more like that madman?) in the reality of the storm, and then passed away, what choices should we make as Anto? Tarkovsky, Soviet Union, China There is a madman in "Nostalgia", in order to prevent his wife and children from being polluted by the depraved world outside, he imprisoned them at home for a long time until his family was rescued by the police. Eventually, the madman delivered a speech about the disintegration of humanity on a statue in the Roman Forum, and set himself on fire to the sound of "Ode to Joy". Is this Tarkovsky lunatic a radicalized Lazaro? And his house turned out to be an Inviolata? In the Soviet Union at the time, religion was undoubtedly such an inviolata, which drove Tarkovsky to flee to Italy. Today, however, the socialist path and revolution, with the Soviet Union as its (paradoxical) precursor, has also been classified as inviolata by the rulers. Isn't this a profound lesson? We allow the degenerating bourgeoisie to blacklist everything unknown and alien and lock society into a safe. We run our lives as private property like bankers. But the future—if there is a future, it must open up in Lazaro, whom we call a terrorist. Indifferent, we are undoubtedly the accomplices of the new-age countess. The story also happened in China. In China today, the dusty history of socialism seems to be permanently frozen. People are driven out of the inviolata and handed over to the myth of material development that is promised to keep going, as if that's what Marxism is all about. However, the young people of the July South have resurrected Lazaro (or more like that madman?) in the reality of the storm, and then passed away, what choices should we make as Anto?

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Extended Reading
  • Moshe 2022-04-09 09:01:08

    It's so comfortable to watch, the wind is natural, the clouds are as free, and the boundaries are blurred, but the narrative is not out of the way, the reality and the fantasy are naturally connected, and it's not abrupt. They picked tobacco leaves in the green and rolling tobacco fields beside the village like a forest. When they were picked up in bundles, they touched the point. In the summer vacation, they are picked and weaved like this, and they are moved into the soil barn for baking at different temperatures, such as low, medium, and high heat. Then they are released to screen the color and sell them. I also wrote a memoir essay for this...

  • Meta 2022-04-04 08:01:02

    Lazzaro has no right or wrong stance, no good or bad judgment, and always absorbs concepts in one direction. Only Antonia was aware of his susceptible passivity, and after cheating, he lied about magic and stopped involving him. However, it was still unavoidable that he clumsily used new concepts and old experiences in a brand-new social formation, leading to the tragic ending. These villagers, whether in the countryside or in the city, can only be "outside the door" when facing the higher classes (even the declining Luna family).

Happy as Lazzaro quotes

  • Marchesa Alfonsina De Luna: Human beings are like animals. Set them free and they realize they are slaves locked in their own misery. Right now, they suffer, but they don't know. I exploit them, they exploit that poor man. It's a chain reaction that can't be stopped.

  • Marchesa Alfonsina De Luna: He who knows himself well is humbled in his own presence. And the praise of other men provokes no pleasure. If I were to know everything in the universe and scorned the charity who would bring me the grace of God? Who would judge my actions? One should go beyond the thirst for knowledge that is the root of distraction and disappointment.