The dusty man held up a pot of water, drank it all, threw it away, and looked into the distance, his eyes were empty and full of loneliness. Then, he walked forward without looking back. The man's stride looked firm.
It is said that the inspiration for the film came from a poem read by director Wenders: A man left the road and walked all the way to the desert.
The man originally had a very happy family, a beautiful wife, and lovely children. Later, because of the embarrassment of life, the deterioration of the relationship between the two and the yearning for freedom, the wife ran away from home. As a result, the man began to wander for four years. His life became very simple: walk, rest, walk. It doesn't speak to anyone, doesn't make contact with anyone, and he seems to have lost his ability to speak and communicate. The vast Gobi and the endless desert are his only partners.
In this film, the desert accounts for a large proportion in the first half. The desert and the earth stood calmly, hot and cold, and lifeless. The far-reaching sky and the continuous Gobi were like his barren spiritual world at this time. He left the crowd, left his relatives, and wandered between the desert and the highway. He seemed to be looking for something, but it seemed to be aimless, maybe even he didn't know it. It seems that only by walking constantly can he fill the empty heart of his lost love.
Love is always complicated, even painful and depressing, but the sudden loss will make us fall into boundless loneliness. We are miserable because of love and empty because of the loss of love. Therefore, the man had to walk like a wandering spirit. His clothes were ragged, his hair was overgrown, and the hat on his head was worn out. He was restless and worried. The body at this moment has become a body for him, and the soul has been lost.
Beside a road that shuttles through the green space, the man passes by his younger brother who came to look for him. This scene is very symbolic, and the family love has become an oasis in his barren soul. With his contact with his younger brother, the image of the desert disappeared little by little, and they were getting closer and closer to the city, which also represented that Davis began to bid farewell to the life of the homeless and slowly returned to the crowd and society. Although the flickering lights and the complicated crowd made him unfamiliar and uneasy for a while.
The image of Davis returning to family life takes on another warm tone. The director's arrangement seems simple and casual, but it is extremely expressive and touching. A scene to meet my son was completed in front of a wall with printed wallpaper. The picture frames on the wall and the furnishings in the room are very lifelike, which also makes the atmosphere warm. Although the isolation of time made everyone a little cautious, the harmonious atmosphere still relieved Davis' mood a lot. Through the eyes of the hostess we even see Davis humming softly. Time gathers and scatters like fragments, and family love usually does not have a vigorous process, but is a seemingly ordinary trivial matter, but he is like a clear spring, slowly flowing out, watering Davis's barren spiritual desert. Davis sat quietly outside the door and looked at the bustling city under the mountain in the distance with binoculars. The plane slowly flew to the blue sky. The shadow swept across the ground, and the long grass danced in front of him. He was no longer anxious. , There was a trace of calm and warmth in his eyes.
Seeing his son, a video at his brother's house, brought Davis back into the crowd. But he didn't stop. He understood what he was going to do. I think the last part should be looking for his wife. The tens of minutes of dialogue between the two was completed in a room separated by glass. The room where the wife provided pornographic performances was a fiery red tone, and even the wife's clothes were fiery red, while the viewer's husband's side was Dark.
In fact, I think there is a symbolic meaning here. At the beginning, the husband was too afraid of losing his wife and delusional that she would betray him outside, so he did all kinds of almost perverted things and hurt the relationship between the two. I think Davis has a strong desire to peep into his wife's inner world, he is more like to know the real inner world of his wife. This special scene is in line with his deep psychology. He wants to understand his wife, but he doesn't know how to do it. This may be his original confusion.
In the end, when Davis turned on the lights and the two sides could see each other, the glass that originally symbolized separation and peeping became a bridge of communication. His wife's clothes were no longer bright, but closer to normal people. It also symbolizes that the wife is also returning from the so-called free life of her own chaos and indulgence, because her equally empty and worried eyes illustrate her loss, she is lost in her own desires.
At the end of the film, when I thought it was going to end with a happy ending, the director gave me a surprise. Davis was standing there for a long time under the green light of the streetlight. There was no one else on the street, and the camera did not move. People are almost still, everything seems lonely and alienated, and a sense of loneliness blows. When he disappeared into the bright neon lights in his car, my mind was at a loss. Is Davis the same at this time?
Life is colorful, and we are always losing ourselves.
2007.11
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