--"Schindler's List"
Schindler, a German and a successful businessman, used the war in Germany to entice Jews to invest, then hired cheap Jews to do the work, and made a fortune in a time that made for a time full of killing and smoke. But after he rethinks the meaning of human existence, not just personal wealth, he begins to use the money he made during the war to buy one Jew after another who will surely meet their doom in the concentration camps: Dreussner, Wien, Rossner, Pfefferberg, Fischer, Schaffa, Wuranker, Horowitz ...... In the end the surviving Jews use their saved one gold tooth, the only wealth all they had left after the war, to cast a ring for Schindler and inscribe on it a Hebrew verse from the Talmud, "Saving one life is the same as saving the whole world." Schindler choked back a sob, "I spent too much money ...... I could have ...... this car - ten lives... . this chest - two lives ......"
Life is like a box of chocolates: you never know what you're going to get.
- Forrest Gump
Forrest Gump's IQ was a pitiful 75, but the world inside Forrest Gump's head was a world we didn't expect. He seems to represent more of a deliberately self-deprecating American spirit, awkward but hard-working, doing his best as long as he lives. He travels through history and becomes a part of it, he witnesses everything and becomes a part of it. Running, running, non-stop running seems to have become the embodiment of Forrest Gump's transcendental spirit. He is like a feather, flying out of his own sky.
There seems to be no regret in Forrest Gump's youth, because he seldom looks back to estimate his own losses, for his life, perhaps can be summarized in two paragraphs, "life is in motion" "never stop trying!"
Once upon a time a man said to me, don't want any appendages, there should be nothing in your life that you can't throw away in thirty seconds.
--Theft
Cops and thieves are born to be enemies, and he was a cop, and he was a thief. He said: I can't just let you guys run amok I will eventually bury you. He said: I must wait until the end. The story of two men is one that is not without warmth.
They are destined to embark on a game of chase in a heartbroken city, born with different missions, which leaves them to go their own way and then fight to the death.
In the movie, one of the robbers, Keith's wife was detained by the police to turn into a decoy, when Keith saw the attic wife, his lover but with tears waved his hand to let him hurry up and go, at that moment Keith kind of can't let go of the look unforgettable.
Either you're busy surviving or you're in a hurry to die! One always has to do something ......
- The Shawshank Redemption
This is a story about a prisoner. Falsely accused of murdering his wife and his wife's lover, young banker Andy is sentenced by the court to life imprisonment, and his desire for freedom is constantly sharpened in the midst of the walled city. "Hope is the best thing a human being can have, and as long as you don't give up, hope will always be with you." Andy is very serious to a few close friends to say this kind of words, in exchange for Rui's silence, after a few moments, Rui slowly said, hope is a dangerous thing, is the root cause of mental anguish. Then, without looking up at Andy again, Rae left the table, and Andy watched him go in silence. The camera pans up to see the mesmerizing sky outside the iron window ...... Andy has never given up with self-redemption to seek their own spiritual home, he always seems to be guided by the belief in freedom, in this impenetrable wall, with their own will to carry on the hard struggle, so he spent 19 years, dug a common man almost to dig 600 years of tunnels, he is the only one who has to dig a tunnel, he is the only one who has to dig a tunnel. He spent 19 years digging a tunnel that took almost 600 years to dig. He crawled through a 500-foot cesspool, and the darkness of the devil and the light of God were like the ends of a thin sheet of paper. Andy knew that the sea and the sky to which he aspired were already close at hand, and he finally used his betrayal of the darkness of the system and his pursuit of the ideals of freedom to create a modern-day myth.
God takes the best things around us to remind us that we have been given too much.
--"The Four Feathers"
The epic film "The Four Feathers," originally a masterpiece of English literature describing honor and fear, has been brought to the screen six times since 1920. The story follows Harry, a soon-to-be newlywed aristocratic officer who, after receiving a naming to sail to North Africa in 1898, decides with inexplicable fear to retire the night before he goes off to war with the Sudan. The move sends huge waves through the highly nationalistic British high society. His fiancée, along with three friends, threw him four feathers representing shame and contempt. The four feathers symbolize the four values of "Freedom, Country, Honor, and Passion," which are discarded by those who run away from the war. After wandering around, Harry decides to go to North Africa alone, disguised as an Arab, and overcomes his fears in the desert battles, eventually rescuing his friends from the enemy's hands. In the story, the fate of a professional soldier and his personal honor and disgrace form a stark contrast, which makes people surprised to find that, stripped of the hero's noble veneer, what is exposed under the sun is only a secular heart.
The first rule of urban survival - when in danger, don't shout for help, but shout for fire!
--"The Seven Deadly Sins"
Human nature is evil seems to have been the mainstream of the Western value system and cultural concepts. In the movie, seven sins, seven penalties, seven times it rains, the story takes place in seven days, and even the ending is set at 7:00 p.m. on the seventh day by that mysterious criminal. The ubiquitous "7" seems to be like a spider's web suggesting to the audience that it is the sin and punishment that carries the destiny. In the selfish, greedy, lust-filled metropolis, God had unleashed a flood to wash away the souls of mankind, while the criminal seemed to want nothing more than to summon that predestined judgment with blood.
Seven is said to be a mystical number in the West, and this is best demonstrated in the Old Testament. God made Adam in seven days and took out Adam's seventh rib to make Eve. Satan's original incarnation was a fiery dragon with seven heads (Revelation 12:3 reads, "And there was a great red dragon, having seven heads, and he also wore a crown ......"
Never hate your enemy, it clouds your judgment.
--The Godfather
Calm law and fervent desire always seem to be twin brothers. Hayek once said that in such a society the law serves only as a "rule of form"
and that no one can use it with any certainty to achieve his or her goals. But the godfathers seem to be hackers who can roam freely and create a huge virus with a simple piece of code. In their hands, rules are only tools to bind mortals, and only "self-interest" is the ultimate goal. They make up for the shortcomings of the law in a free society by deciding what they want to do in the way they believe.
Vito Corleone's solution to the problem was to construct a system of law. Corleone's solution to the problem was to construct a family under the cover of religion, in which, of course, Vito Corleone had his beliefs. Corleone has his beliefs, and that is that he never moves to carry out his doctrine.
Morality seems to become the cover here, and the means are the way to make a fortune that determines everything. ......
--"Cinema Paradiso"
It's a warm movie, and every image can take you on a mountain of memories.
A mother is pining for her distant son. Her son, who left home years ago, is now a famous director in Rome. The son is back, and he has come to attend the funeral of the old projectionist and his most important friend.
During his childhood, the villagers loved to go to the town's Cinema Paradiso. As a young boy, he formed a deep friendship with the old projectionist. Later, the boy saved the old projectionist from a fire caused by a film, the old projectionist could no longer see anything, and the boy became the projectionist. Then the boy grows up and he falls in love with a girl, but as a result the girl moves away with her family. The boy takes the old projectionist's advice and moves far away.
Thirty years later, the famous Salvatore returns for the old projectionist's funeral. The old projectionist left him a gift, the film of the kissing scenes that had been cut by order of the town's priest in the first place, every kissing scene, every kissing scene as a walk-on in the wide
Choose life, choose a job, choose a lifelong career, choose a family, choose a xxxx big TV, choose a washing machine, choose a car, choose a CD player, choose health, choose cholesterol and dental insurance, choose a building mortgage, choose to buy your first house, choose your friends, choose to pay for a three-piece suit in installments, choose to watch boring TV on silly Sundays and snack on it while you watch it, choose to live on, choose to wet the bed in an old people's home, and be embarrassed in front of guys like you ......
- -Guess the Train
"The world we live in is like a garbage dump," and if Ho Yung's high-pitchedness is a kind of waking pain, Mark's anger is more like an anesthetized awakening.
It's a riot brewing in adolescence, a kind of rebel called unveiling, a rebel who won't go home, only to wander alone under the cold streetlights.
The movie seems to be a cry for either smashing this all-abominable society and being a complete asshole, or blending in completely and being a goofball who goes with the flow.
They're looking for a life of their own, cursing everything around them with marijuana or money, and you can't tell if they're asleep or awake, as "Potato" says: "Fashion changes, music changes, psychedelics change, everything changes. "
Mark finally comes to his senses, and after betraying his friends, laughs and pounces on the world he once despised. It may be the beginning, it may be the end, but the movie has already told us that when Mark dives into that filthy flush toilet, a new world is born.
There will always be half the world that doesn't understand the joy of the other half.
--"Emma"
The film Emma, based on Jane Austen's novel of the same name, is a 1996 color co-production between the United Kingdom and the United States.
The movie takes Emma Woodhouse, a beautiful, intelligent and cheerful young woman, as the main character and acts as a thread, and through the love and marriage relationship between many men and women, it explains two points to the audience:
One, marriage should be built on the basis of feelings. The second is that successful marriages must be based on the right kind of family.
But what is love? In a Swedish movie, there are two men talking to each other about women, and A says to B: Don't be silly, they don't need love at all, all they need is attention, unique attention. Alexandre Dumas once said that there is no difference between pleasure and pain in the world, there is only a comparison between one state and another! The dead do not deceive us.
This is how freedom came to be, but so did slavery.
--Braveheart
It has been proved that the freedom of the people is not gained by words carefully codified by jurists, or by monarchs in a fit of charity. Freedom is lost to the proletarians in chains and gained by the whole world. Braveheart depicts with a magnificent arm the kind of saber-rattling confrontation between oppression and freedom that mostly cannot be shifted by the will of the individual, who derives more from the contradictions of the social structure.
For an endeavor, freedom may simply mean that his spine doesn't have to be whipped any more, and that he can want to do what he wants to do. William Wallace actually pursued more of a "natural human right", even if he had to bleed himself dry. This spirit is awe-inspiring. However, the pioneers of the times often can only use their eyes to penetrate the hundreds of years after the changes, because they woke up too early, most of them are depressed and unfulfilled. Advocating free will in the dogmatic Middle Ages was like Galileo discovering that the earth was round. The point of William Wallace's quest is that, though doomed to failure, it struck that nerve after all.
Flies don't fear, and flies don't feel shame ...... Nor do flies like politics ......" .
--"The Fly"
The movie with a sci-fi flavor had the film rated as one of the most disgusting films ever made, the story is about a scientist who successfully completes an experiment to break down organic matter and then synthesize it ex situ. While the scientist is experimenting on himself, a fly gets mixed into the container, and the result of the synthesis is that the scientist has a fly's head and the fly has a human head. This astounding imagination coupled with certain scientific theories as proof obviously caused panic in the deepest recesses of people's minds. And in the other world, reorganizing a self seems more like a profound exploration of what constitutes the essence of life, even if its form is a bit overwhelming. And a reflection on life, a deep understanding of politics, is more like an allegory.
Sura, the great slave owner who suppressed Spartacus, is said to have been a kind-hearted young man before he got involved in politics. In his Comparative Biographies of Famous Greek Men, Plutarch, the ancient Greek biographer, says that when he was young, Sura was innocent and lively, with a smile on his face, and was extremely sympathetic, often weeping out of pity. In later years, however, he became cruel and heartless. Although he condemns the excessive possession of power and honor on the grounds that it corrupts human nature, he makes no effort to limit his desire for power and honor, but instead pursues them desperately. He not only makes himself cruel and heartless and bereft of conscience and humanity in his pursuit of power and honor, but he also makes his competitors cruel and heartless and bereft of conscience and humanity.
So Louis? Bollore says that politics makes men sinful.
When you're young, you think there's an answer to everything, but when you're old, you might think there's no such thing as an answer to life.
--Fallen Angels
Killers will die tomorrow, love is just a comfort for loneliness, Fallen Angels seems to only want to tell people one thing, there is no perseverance in this world that you really want.
Life is like an arithmetic problem when we were in elementary school: there is a pool of N cubic meters, the inlet pipe takes in A cubic meters of water every hour, and the outlet pipe takes out B cubic meters of water every hour, so when is the pool full? There is no formula to calculate life. As an adult you will understand that the inlet pipe is the life experience you get, the outlet pipe is the youth you consume, and this pool will never be filled up, it represents the impossibility of a perfect life, and inside it is emptiness, struggle and bewilderment. But we have to face it eventually!
We have to learn to cherish every day of our lives. Because the beginning of each day will be the first day of the rest of our lives, unless we are about to die.
--American Beauty
Middle-class Lester. Burham has less than a year to live, though there is no sign of it yet.
He lives in a warm, quiet suburb of that bustling America, with a beautiful wife, Caroline, and a teenage daughter, Jenny. He had everything he needed, but his family was not as happy as it appeared to outsiders. His work is not accomplished, he is tired of what he does, finally one day, when Lester meets Jenny and Angela, who have just finished cheerleading for the middle school basketball game, he is immediately struck by Angela's beauty, and the feeling in his heart that has long been dead seems to have been rekindled, and his life slowly begins to change, and the middle-aged man falls in love with the love fantasies of a teenage girl, and the state of affairs Gradually, the situation develops in a very interesting but unpredictable direction. ......
Maybe not everyone's life can be meaningful because of this or that fantasy, but at least it makes us cherish another meaning in life
Do you need a reason to love someone? Maybe not. Does loving someone require dedication? Yes! And without complaint! --City of Angels
Seth is an angel over Los Angeles, who spends his days running between life and death, witnessing the sorrows and joys of the earth. On this day, he arrives at a hospital, but unfortunately he is too late, the patient undergoing heart surgery has died on the operating table. The surgeon, Dr. Maggie Reyes, thinks it's her responsibility. Seth believes that she is responsible for this, she has lost her confidence, and her spirit has collapsed. Seth decides to stay and help Marge overcome her mental crisis. And in the process, he falls in love with the beautiful Marge. In order to have real access to Maggie, he took the risk of making himself visible.
While the love of angels may be more pure than that of human beings, Seth finds himself unable to truly enter the world of mortals. Faced with an unbreakable love for Maggie, and in order to share the joys of life with her, he resolutely decides to give up his angelic status and fall to earth, to be a mortal from now on. This may be quite a costly wish for him, but between wishing and giving not everyone can be happy. For angelic love, there is also a saying circulating on the Internet that every girl was once a tearless angel, and when she meets her favorite boy, she sheds tears - and becomes mortal. So the boy must not fail the girl, because the girl gives up the whole heaven for you!
The Pianist at Sea (The Legend of 1900)
Real or Imaginary
Both the writer and the director have played a big trick here. It's not in doubt that the English name "legend" itself means "legend" (what's the original Italian word?). But at the beginning of the movie, the director has Mike make the movie about a legend. But at the beginning of the movie, the director puts Mike in the lead, and all his efforts are aimed at convincing everyone that 1900 is real. Naturally all the listeners are like us, both skeptical of his words and interested in his story. That's why that musical instrument store owner finally gets up, stretches his back and says lazily, "Well, you've made up a great story, but we're closing up store."
No one believes 1900 is real -- except maybe Mike and the director. But does the director really believe 1900 exists? In fact, his poor "schtick" shows that he is the most skeptical of all. True belief does not require trying to convince others. So here he is actually using people's disbelief as a tactic to tell his story. But I can't help but say that this tactic is not that brilliant, because it's a tactic that's been overused. And in the end, the director's attempt to have Mike try to save 1900 was even more poorly done, and the director made it so "realistic" that the story lost the beauty of the legend.
It made me laugh to see all the people confused by Mike's efforts. They all seemed to be convinced in the end by Mike that such an eccentric genius existed. And I was even more surprised that Mike was still so young at the end, when his reputation had spread far and wide long before that, so why was it that no one but Mike seemed to know about him, and that it took so much effort on Mike's part to convince them one by one?
No Variations on a Theme
The film is hard to find a suitable theme to analyze. From the very beginning 1900 exists on the ship and is amazingly untutored in such a difficult musical skill as playing the piano. He hasn't been off the ship at the beginning and we can't analyze why, we only see what the director presents to us. At this point he hadn't seen land, so he couldn't have had that last thought, or else it's impossible to understand that he ever had the idea of going around on land and almost putting it into practice. At this point we can only interpret the fact that he did not get out of the boat as meaning that he did not think of getting out of the boat, or that he believed his negro father's words that there were great man-eating sharks on shore. But it is clear that the latter, except as it might have had an effect when he was ignorant, could not, I fear, have had that effect when he was an adult-otherwise we could only interpret him as an idiot. So at this point his not being able to get off the ship can be said to be an accident without a cause, and without a cause it has no meaningful value. He then hears the peasant poet (what is he if not a poet if he can hear the sea sing and utter those words?) He then hears the words of the peasant poet (who can hear the sea singing and speaks the words, what is not a poet?), and begins to yearn for the shore, which is even more contrary to the spiritual proposition of the whole movie, where the shore seems more mysterious and significant. Later on, he meets the woman, love arises, his urge to go ashore is even stronger, and finally he is about to disembark, which makes our hearts hang in the balance, we are excited and tense, and yet at this point the classic scene occurs, on the side of the ship, where he dashingly throws his bowler hat into the sea, and then re-enters the ship. We say that it was not until this time that his thoughts and actions in not getting out of the boat took on real philosophical significance and came to prominence. However at this point his life is nearing its end and the movie is coming to an end. So looking at the film as a whole, how do we analyze the unifying theme that runs throughout it?
Sincerity or hypocrisy
The best part of the movie may have been 1900's battle with the originator of jazz. But that bit is so dramatic that it comes off as contrived. Leaving aside the jazz musician for a moment, I wasn't terribly comfortable with 1900's seemingly sincere commitment to the move - but I can't help but recognize that he felt me in that moment, and there's something to be said for people who can applaud their opponents. The one-on-one competition was intense, and the director used every technique imaginable to set the mood (but I have to say that none of them were new, such as side-splitting through the audience's facial expressions), and when 1900 was forced to play "The Christmas Song" my heart was thrilled, and I thought that the real excitement was about to come, and I still had high hopes for the director when he repeated the jazz musician's performance, but when the end came, the director's expectations were still high. I still had expectations for the director, but by the time 1900 finally played the piece that thrilled the audience and thrilled the fans off screen, I was disappointed. The director still couldn't help falling into the cliché. Does he think playing fast is good music? Then everyone is better than fast! This reminds me of Jin Yong's martial arts world, where the true masters often disdained weapons, or used the dullest, such as unsharpened black iron, or toys used by small children, such as wooden swords, or even branches, sticks, and so on, as their weapons. And their martial arts were often gentle, such as taijiquan, but because they were masters, the power they unleashed was again the most powerful. I would have thought that 1900 would also be such a master, he played the simplest "Christmas Song", play jazz musicians played the music, the layman is surprised, do not understand, but masters such as jazz originator he should be able to hear the extraordinary in the ordinary, the same song, in the hands of 1900 but like a new life, it is this that makes him sadly admit defeat. I guess that's more interesting than having 1900 take a heel of cigarettes and burn a wire.
And then there's 1900 who flinches at first, who can't seem to understand why the jazzman wants to play with him, and who "sincerely" applauds the jazzman and is moved to tears. But he can't stand the jazz musician's repeated pressure, and finally reveals his true colors and says to the jazz musician, somewhat viciously, "Bastard, you asked for it!" This statement took me by surprise, and for a moment all the sincerity he had started with turned to ashes in my brain, leaving only the expression he had on his face at the moment, and the sincerity he had just started with seemed to take on a bit of a darker hue at the moment. I don't like him like this, I'd rather he stayed stupid and silly. He doesn't want to fight with people, he is who he is, a pure uncontested genius who just loves music!
Love tidbit
It made me a little secretly anxious to see that halfway through the book, 1900 hadn't shown a hint of interest in women. I think love might have been more legendary for a man who had never gotten off a boat. Given his fame at the time, he should have been surrounded by endless numbers of beautiful women who should have been enamored of him and he indulged in the sweetness of love. But no, the director seems to have ignored this and only had an obese trumpet player following him around. In the second half, however, the director seems to finally feel the need to pay attention to the private life of the legendary young man and arranges for him to have a strange encounter with a heroine who happens to be the daughter of the same peasant poet who had been an influence on him. She also happened to be on her way to find her father. Because of her presence several things happened: firstly, Nineteen Hundred finished the piece of music from his only record, and in this sense she, or love, inspired him; secondly, because she was not able to accept his gift (strangely enough he heard what she said, and she was further away from him, and her voice was certainly not as loud as his. The only possible explanation was that he was downwind. But judging from common sense, it's a little more likely that he was upwind.) So he destroyed the one and only record (Mike fixed it up and tucked it into the piano, but maybe he should have kept it as a souvenir better; wasn't he afraid that Nineteen Hundred would destroy it again?) ; and thirdly, because of her (and because of her father, of course), 1900 was ready to go ashore to live, to hear the sound of the sea. And indirectly contributed to that great idea of his. From here, the girl's appearance is appropriate, but their love always gives me a sense of dispensability, as if it is just to fulfill a ritual, or as said above to promote some development of the storyline. So here she just serves as a prop and the love is non-existent.
Why die?
1900 The death at the end is hard to accept in one's heart. If you want to blame, I think you should blame the director. Because 1900 could have not died at all. 1900 was afraid to go ashore just because he felt that the land was too far away, and the city was so far away that he couldn't see the end of it. It made him panic inside. He was afraid that he would get caught up in this infinity and thus not be able to immerse himself purely in the music anymore. Thus, to paraphrase a friend, "He wants purity." The world he knew - and felt most comfortable in - was a boat like that, with no more than 2,000 people at a time. He lived on the keys, and the keys were limited. Throughout, he expresses the concept of "space"; he was not born to love boats, nor was he born to live on them, but he was used to it and had to. And the "boat" he expresses does not emphasize that it must be "this boat", so we can fully understand that he can live happily in another boat. So why don't we just give him a new boat and let him die with the old one?
This kind of questioning might embarrass the director, and all the viewers, and it would make the story take a sharp turn for the worse, and lose the layer of romance that was artificially smeared on it.
Perhaps I am being too cold and artless in this analysis!
A Romanticized Ending Imagined
While I say that this is a non-romanticized journey, it doesn't mean that I'm that much against romanticization. In fact, I hold regrets about their endings, both for The Pianist at Sea and for The Baron in the Trees. I don't think I would ever have approached it that way; in my imagination, 1900 should have mysteriously disappeared, that is to say, Mike should not have found 1900, but rather, at the height of his despair, he suddenly hears of a gifted pianist on a ship somewhere, whose acting is impeccable, whose music is wonderfully beautiful, and - -it was said that he never got off the ship. From other people's descriptions, Mike realized that the person is likely to be 1900, at this time a sweet smile quietly bloomed on Mike's face, so the music started, is 1900 stormy piano sound, in the sound of the piano, the camera pans to the sea, there are beautiful ships on the sea, behind the ships is a beautiful sunset, the ships have become a beautiful silhouette. The sound of the piano seems to float out from each boat, so many, so sharp, as if there are multiple 1900s playing together. And so the caption rose ......
Again, there was no need for the Baron to pull up that hot air balloon; he should have suddenly, one day, climbed farther and farther along the tree, and gradually become a tiny dot in the astonished sight of the crowd, and at last even that dot was lost to sight. Then people never saw this baron who never came down from the tree all his life ......