War, collective schizophrenia-"Go and see for yourself"

Mackenzie 2022-01-01 08:01:39


I am very afraid of watching Russian or Soviet literary works, and I am afraid of watching war movies. "Go and Watch for Myself" is both, but I can't help but want to watch it under Ni Ke's bewilderment. I still watched it. Since I saw the evening last afternoon, the film was only more than two hours in length, but I felt too much pressure. It took several hours to finish watching.
I hope that humans will not be able to make this film (because there is no reference), although it is undeniable that this is a shocking masterpiece.
The background of the film is Belarus in 1943. Two years after the Nazis invaded the Soviet Union, there were many brutal battles during the period. However, the camera avoided the battlefield where the two sides were confronted and kept closely following a boy who joined the army.
Young Friola and his friends dig guns in the ruins of the war. With guns, he can join the guerrillas. He got his wish and bid farewell to his mother and a pair of innocent twin sisters who begged him to stay, and was taken away by guerrillas disguised as German soldiers.
In Friola's house, the mother, mixed with fear, worry, and faint hatred, welcomed the two soldiers who came to take her son. One of the soldiers, who was tall and seemed to like to tell jokes but had a rigid expression and a blunt tone, wanted to amuse the two little sisters, but the children were panicked and were about to cry. It was in stark contrast to the previous mother who put the axe into the hands of his brother (Friola) and threatened him to chop them to death before leaving the house. The brother winked and smiled. The two children looked at the scene of Zhile in stark contrast. Although trying to express kindness and comfort, in the two adults who have already participated in the war, even the casual children felt weird and nervous, a breath that was difficult to blend with their daily lives.
The film calmly reinforces this sense of separation, using subjective stimuli to mobilize emotions, so that the mental state of the viewer is gradually immersed in the historical scene it is about to shape. Although the realistic technique is adopted, in fact, various techniques are fully and subtly used to set up a "body" present, as the title suggests-"Go and See by Yourself".
I noticed the following points:
through the visual drop. Such as the conversion of normal tones and dark tones. The first time I noticed this change was at the beginning of the film. Friola dug his gun against the background of green grass and blue sky, but the fighter jets that came immediately across the gray sky, and from a bird’s-eye view, the grass and woods were all It became a fuzzy gray mass.
Through the auditory gap. For example, the fluctuating roaring sound may originate from machinery (aircraft, motorcycles, etc.), animals (flies, etc.), or disturbed electric waves, and even physiological tinnitus. This monotonous and repetitive sound is anxious and frustrating; it is also like the interlacing of the true tone and the disguised tone-the child who appeared before Friola speaks gloomy words in an old-fashioned and fierce tone that is not suitable for his age, which makes people At a loss. After that, we heard his true voice again, especially the naive words "What's the matter? Are you peeing on your pants?" expressing concern for your partner, which seemed to confirm his true age. But at the same time that I felt compassion and love for the child, I was still terrified: because the old voice is beyond the scope of what I can understand that the child can pretend, and there is an unavoidable authenticity in it.
From the perspective of the development of the film, the signs of aging that finally appeared on Friola's face once again echoed the child with an old tone of voice. They are all sensors, spokespersons and victims who have transformed under the ravages of powerful violence.
Then there are facial expressions, behaviors, and emotional reactions. This is what makes me feel the most creepy. Laugh, laugh desperately, still smiling with a distorted crying face! The encounter between Friola and Graça, sadness, fear, despair...the neurotic dialogue hides how many unbearable negative emotions, and they actually communicated with laughter and joking tacitly. The emotional portrayal of Friola's return home was extremely suppressed, but it made it impossible to isolate himself with words such as pity or sympathy and comment on it outside of the incident. Seeing there, I can only pause, pull away, and let myself think of something else. Later, it was discovered that using psychological knowledge to interpret Friola's actions was a profound portrayal of the grief reaction:
1. Denial. Friola felt that something was wrong as soon as he entered the village, but he did not want to face his prediction. He entered the house, ignoring the roar of flies caused by the rotten food (the sound was deliberately amplified), and moved out the spoiled milk that had been put on hold for too long to entertain Graça. . He emphasized: "It's still warm." It is assumed that the mother and sister have been away for a short time and everything is normal;
2. Doubt. Grasha found the massacred people in the village and was hysterical, but Friola didn't look at it, and excitedly dragged Grasha into the swamp. He believes that his family has survived hiding on the island, but struggling in the quagmire, his flustered steps reveal his self-questioning-is everything really the same? Whether misfortune has come;
3. Anger. Upon arriving on the island, Grasha shouted out the fact that his family had been slaughtered. Friola suddenly became aggressive, pinched her, and pushed her into the swamp. It is still not accepting the reality of death, but the irrationality at the moment makes him vent his anger towards death to his closest companions (actually it is self-attack pointing, and Graça becomes the side of Friola who accepts the reality of death. Avatar).
4. Apologize. At Kojima’s refuge, the uncle who was severely burned unconsciously accused Friola of digging out his guns. Although we know that this is not the case, Friola was also immersed in such self-blame. In spite of his guilt for abandoning his family to join the army, he buried his head deep in the mud. When he followed the adults to find food, the women kept him: "Child, don't leave us." A mother holding the child comforted him: "You never knew that things would become like this, you can't know." Liola's answer was: "No, it's all my fault."
Friola's bumpy fate did not end here. Four people went on the way to foraging, and in the end he was the only one left. He was rescued by an old man and hid in the village under a new identity. The old man talked about introducing him to his family. Seeing that the atmosphere seemed to ease down, he could even bring some unrealistic fantasies—whether Friola can melt into it. The new family that accepts him? But then, it was the slaughter of the Nazis.
There is a detail in the film. After Friola was left behind by the troops, he smashed a nest of bird eggs while running. This is probably a dividing line, and since then, the faces of teenagers often appear on the faces of patients with traumatic disorders. There were also two photographs, one was with the guerrillas, when he was still a normal child; the second was taken by the Nazis with a pistol against his head, which was already a devastated face full of fear.
In the withdrawal state, we can say on paper that this child needs psychological intervention. But in fact, we are just watching and witnessing the process, but there is nothing we can do. As for myself, I can only shiver and pray: in my lifetime, never let me be in such an environment.
The unity and separation of informed intentions is an important criterion for judging schizophrenia. Therefore, when we look at dealing with specific situations, when individual behaviors and emotional reactions are different from our expectations (normal), we regard them as abnormal. But what if the environment itself is abnormal? Faced with deprivation, loss of loved ones, and threats to life at all times, bad luck lingers on the head but I don’t know if the next second will come... Then what else can we rely on? There is no such thing as a normal order, that is, collective schizophrenia, and no one can be spared.
The German troops drove and beat the villagers with cheerful music and ridiculous propaganda, locking them up in wooden houses and burning them to death. Throwing the baby back to the window of death like a lifeless puppet, and like a young pioneer who is doing good, carrying the old grandmother with the bed outside away from the burning residence...The absurd and grotesque behavior reveals that the victor is just as being seized by fear, although it is The prototype did not appear until after the captivity.
I don't like the silence of the guerrillas and villagers at the end. I watched the defeated side's ugly performance with contempt. The last shuttle shot ended them, and the fire was thrown into the water. I feel that it is too masculine, and it seems to emphasize the moral nobility of the justice side. I would rather ask them to be impulsive, or even violent. Ni Ke felt that they had handled it well. She believed that they did not want revenge, but that they had a deep fear of that kind of violence. Also, the creator of fear will eventually be swallowed by fear. However, why do human beings always get involved endlessly?
This film made me feel the power of art strongly. It can not only be used to satisfy aesthetic pleasure, or passively become an object of desire; when it has sufficient energy and becomes perfect, it has a breathtaking attraction. Power can actively grab and capture the viewer, and instill its ideas accurately and magnificently. It can be said that it is both a danger and the best warning of danger.

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Extended Reading
  • Christiana 2022-01-01 08:01:39

    Masterpieces, the Eastern European countries' understanding of "World War II trauma" really deepened their bones. The suppression brought by the lens, the panic created by the sound effects, the frequent hints and the unique form of expression are all an impact on the senses. The passive viewing that cannot be substituted for personal emotions allows you to see the doomsday plot that belongs to the director’s interpretation of the human heart in the depths of the human heart. ★★★★

  • Brandy 2022-04-21 09:02:31

    [S] The most primitive desires, fears, and emotions of human beings are maximized. The pictures of many characters looking directly at the camera allow the audience to "see for themselves" the cruelty of the war; while the use of hand-held photography and the use of the first-person lens allows the characters to "see for themselves" the predicament they face. The first half eschews the macro depiction of war, and instead focuses on the presentation of the corners and corners of the war. The vague presentation of it can deeply feel that people are like trapped animals, ignorant and helpless about war. In the second half, it changed from the past, choosing to reflect the ruthlessness of the devil through the brutal and impactful images. The harsh laughter penetrated into the bone marrow, and the people who came out of the flames were no longer human, but more like a demon in hell. It is a pity, however, that the large-scale depiction of the scene in the second half of the film dilutes the numbness and distortion of people's minds in the first half to a certain extent. However, under the scheduling of Beethoven's "Requiem" at the end, looking back in time, we will find that although * Teller's human nature is evil, it is an indisputable fact that he grew up in his infancy. Who would know that this seemingly harmless human and animal Will the baby be the sinner of the future war?

Come and See quotes

  • Flyora Gaishun: To love... to have children...

  • Man in village: You're a Hopeless optimist.

    Man#2 in village: He should be cured of that.