Paradise Cinema
After becoming a famous director, Duoduo received a phone call from his hometown mother, telling him that the funeral of Alfredo, a former projectionist of Paradise Cinema, was about to be held, which reminded Duoduo of his childhood and adulthood, but he had not been home for 3 years.
As an assistant to the priest, many mischievous people who were only disciplined by their mothers because of their father's participation in the war were often annoyed by the priest. He was so obsessed with movies that he wanted to learn how to show movies from Alfredo, the only cinema projectionist in the town, but he was rejected. Even so, he learned how to show movies without a teacher, and later he became a friend and teacher. Alfredo teaches a lot, not only showing movies, but also the wisdom gained from movies. He told Toto to have dignity for love, leave the town and go to the bigger world. Don't go back to town until you die.
The cinema is the only entertainment center in the town, and it is also the place where villagers gather. They spent an indelible time here. There are countless human beings in the film. Children concentrate on smoking on the screen, teenagers spend their turbulent youth, and young people flirt with each other in the twists and turns of movies. Adults rely on entering movies to avoid the chase of boring time and the shadow of war. For residents, movies are second life.
For Duo Duo, movies are not only an art, but also a part of his life. In movies and in life, he naively accepts the reality more than adults, because his mother always remembers that his father can come back.
The more we stare at and think about this movie, the more meaningful it is. The more we think about this meaning, the more we realize that it is related to the art of life. It tells us that life is so difficult. It tells us that life is not simply the truth and exhaustion presented by the art of movies. It is about the regret and disappearance that we have already felt before we reach the end of life. Helplessness for things that have passed away, endless regret and unchangeable regret. In other words, it tells us this crucial fact: life is a long sigh, and art is the echo of sigh. This sigh echoes the endless innocent joy of childhood, which makes it even more cruel that we can't face it directly.
From the beginning to the end, we can't seem to understand Alfredo's obsession. He told Duoduo that if you stay in a small town for a long time, you will feel that this is the whole world, and told him all the wisdom he got from the art of movies. This kind of wisdom is not the wisdom of truly taking risks in the world, but the wisdom presented by the concentrated art of imagination. For him, Duoduo is a kind of hope and sustenance to get out of the small world of the town. But many years later, we found that many people returned to their hometown to attend Alfredo's funeral after becoming a great director. They were more like a tired traveler who returned home from a winter night than a director who walked through the bigger world and won the film honor. He was tired and almost silent until he saw those childhood clips, those kissing scenes, and he cried. This is family affection and the truth of human nature. We found a paradox. If Toto was an old man's strong desire to leave the world when he was young, he didn't go home for 3 years but came back tired at last, but Alfredo got satisfaction from movies in a small town, and he lived a life like a movie. He didn't run away and was satisfied. Toto went out, but came back tired. In fact, whether you leave or stay in a small town, it shows the fact that life is the art of regret.
The death of Alfredo and the explosion of the cinema mean that the handcraft era of movies has passed away, which means that the ties of the cinema, once the center of the town-an emotional square, have dissipated, followed by the commercial square and industrial movies we see. Watching movies is no longer a collective pleasure and echo, but an individual tour and aftertaste. This is also the most important revelation: once we regarded the film as a wonderful moment of collective memory, it gradually faded away, and its physical body, the cinema, could not shine under the cover of industry, but became a memory for nostalgia, which meant the strangeness of its living in a dead way.
So, this is a movie about the sigh of life, which is meaningful. So we still remember that Alfredo said to Toto: < P >? Legend of 19
The first time I saw this movie in high school, it was in one night, and it just penetrated into the loneliness of the bones, and loneliness was the crisp beauty of porcelain accidentally falling to the ground. I live on land, and the infinite life in the future unfolds in front of me, but I'm a little unlucky, and I don't have the keys to bear this infinite loneliness. No one understands why 19 didn't get off the boat. When I revisited it in college, I suddenly felt that it was a story about art. 19 is a symbol of pure art, so he will always stick to this shore instead of the other shore-land. Those who criticize the weakness of 19 will not think that, just as there are people in this world who have lived on land since childhood and never got on the boat because they are afraid of the sea, there are also people who were abandoned on the boat at birth and do not want to go to land, not to mention that he is a pianist who can play music that covers the whole world! Because of his natural disposition and purity of art, it is inevitable that he will not get off the boat.
Ships going back and forth across the ocean, immigrants' desire for freedom in the New World and billowing black smoke from huge chimneys are like an era, which is the gentleness, prosperity and shining light of Fitzgerald's jazz age, dances and jazz. This is not only a tribute to art, but also a tribute to the times, until that era disappeared, until jazz ceased to be the music that people talked about after the war, and until it sank to the bottom of the sea with the old ship in 19.
I watched it again these days, but I feel that 19 is Calvino, or something similar to Calvino. Because he has a huge and slender imagination, he accurately shows the music of every word and everyone's music. Say the first "America!" to the Statue of Liberty. Music!
Max, his intimate friend and the last person to see him, recalled him and said:
All his music does not have a secular purpose, but naturally radiates moist light as its inherent talent, which is a naive pleasure. His real music is not a duel between dances and bands in the first class, but music played for ordinary people in the third class, improvisational, carefree, lyrical and secular. Until he met a girl on the boat, he kissed her gently while she was sleeping, and then walked away carefully. He is going to get off the boat and find the girl.
At last, I stood on the boat ladder, threw out my hat and returned to the boat. At the last meeting with Max, he told the real reason for not getting off the boat:
? The beautiful legend of Sicily
Under what circumstances is beauty a sin?
—— It reveals the ugliness and darkness in the heart, so that people have to huddle together for unwarranted slander, speculation and rumors to gain a sense of security.
For the residents of the small town, the sexiness and beauty of marlene dietrich is an excessive temptation, which is beyond their moral imagination. Marlene dietrich's face was tense and his eyes were melancholy. The body wrapped in clothes was a great visual impact. Her husband took part in the war, but there was no news. Her father was deaf and taught Latin. Her appearance was silent. She never spoke in front of everyone, so she was interpreted and discussed. Her expression is her passionate body, and it is the label that she is put on her body without saying a word.
She is a beautiful widow, and she is a woman who has lost her voice.
For Renaldo, she is pure beauty and suffocating sexiness. For the first time, he saw marlene dietrich with his friends, from melancholy face, erect breasts to sexy buttocks, and then took a deep breath, as if he could smell her sexy body fragrance. He realized that the hazy and turbulent lust was awakening.
A teenager's lust is a stubborn fantasy-he wants to reach the body of the desired object and complete his satisfaction. But the beauty of this lust lies in the satisfaction of its fantasy. In this way, it has gained the power of ceaseless commotion, and it has also been endowed with a sense of beauty, such as the fine waves rising from the sun shining on the sea, the sexy and hot sweat of the rich watermelon juice.
Unlike other teenagers and adults, Reinado's lust is not just for a fantasy satisfaction, although it was at first. For Reinado, this sexy beauty hides a more mysterious and profound truth. In order to understand this truth, he began a phantom pursuit of marlene dietrich: peeping at her home life; She was lying in the yard reading her husband's letter; Go to the record store to find the song that marlene dietrich is listening to; Her night and day;
He smelled an unusual smell: marlene dietrich had nowhere to go in the small town, and people were eager to spread rumors and slander;
He went to the church to make an agreement with the Virgin Mary, hoping to protect marlene dietrich. In fact, he hoped that the Virgin Mary would give him strength as a man. Since then, his gaze on lust has changed. His companions were still satisfied with the appearance of instinctive lust, and he began to think about lust and the beauty of the body. Regarding marlene dietrich's dangerous situation, he consciously fantasized and entered a conversion ceremony: becoming a real man and protecting the pure beauty of this body-it comes from the infinite trust in love.
The truth associated with beauty is sincere appreciation without judgment.
In the narrow moral vision of the town, the sexy beauty beyond imagination must be grounded and become ordinary before it can be affirmed by the common people. People accepted marlene dietrich again because of the weight given to her by her husband's return from the battlefield, and also because of her first voice in the vegetable market and the first time when she said "good morning" to the residents. But what about the memory of suffering? It' s so light, leaving only infinite regrets. But for Renaldo, the existence of marlene dietrich aroused the awakening of youthful lust, from which he found the truth of human nature-a profound truth, which is the only thing worth pursuing and exploring.
? Trilogy of Time and Space
I always thought that "Trilogy of Time and Space" was a reflection of different stages of life. Paradise Cinema is a childhood memory and a middle-aged memory. Legend of 19 is the loneliness of young people who are about to start an infinite life, while The Beautiful Legend of Sicily is the qualitative change of young people's lust, but later, I watched them again. There is only one sentence that keeps ringing in my mind: life is a long sigh, and art is its unforgettable echo.
In legend of 19 and Paradise Cinema, there is an image of space collapse in the end. As a collective public space memory, the cinema of Paradise Cinema finally enters its interior to find memories-hidden in the structure, breath and memories of the cinema, and finally disappears in the explosion. When the abandoned ship finally exploded, Max went aboard to look for 19. Both spaces are dilapidated dust, and every corner shines with the light of memory in the eyes of every insider-its happiness, prosperity and passion will eventually explode. I can't help feeling sad when I think about it, because none of them have tombstones. They remain in the memory of the insider, but the memory will fade away, evaporate like perfume, and finally, until the last person who knows it dies.
In the trilogy, the protagonists themselves are in a state of absence. Duoduo lost his father, marlene dietrich lost her husband, and in 19, it was a friend who was missing. The director offered compensation for the missing role. Alfredo became a lot of "fathers" and a man who taught life wisdom. Reinado fantasized about becoming marlene dietrich's husband and acting as a protector. Max is a bosom friend of 19. He knows the music of 19 and that he is the greatest pianist in the ocean. This also makes us immersed in the role of the film, because it is this "lack" that we, as the audience, consciously enter the missing role. I later realized that the charm of these films lies in the conscious compensation of the audience.
In the three films, all the characters finally return to the original point. Duoduo returned to the dilapidated cinema, Max returned to the abandoned ship, and marlene dietrich returned to the town. This is the story, with a beginning and an end, instead of being in an endless waiting for nothingness like Waiting for Dogo. As 19 said:
However, we still have to make a long farewell to the story. Life is much harder than movies.
an endless sigh ...