Italian director and screenwriter Paulo Sorrentino seems to be in a period of personal talent. Aside from the creation of many years ago, the 2013 "Best City" is Countless people fell in love, and this year's "Youth" is also a masterpiece that is pleasing to the eyes, eyes and mind.
The moving mode of the film has the profound meaning of the writer's film, and the lingering aftertaste. The overall presentation is comfortable and smooth, pleasing to the eye, and has a charming temperament that the more you watch it, the more you indulge in it. Different from the magnificent expression of "A Beautiful City", "Young and Vigorous" has a trickle of delicate and intimate. After 119 minutes of watching the movie, the audience seems to have a glimpse of what the world is like. It is fierce and stubborn, and when you see it suddenly, you can become so tender. You can also experience the beauty of the years in the passage of time. No matter whether it is fierce or stubborn, tender and beautiful, it is reproduced by this film. Full of intoxication.
This obsession is probably due to the fact that Sorrentino once again presented the status quo of human existence in a light and clever way. Although the people in the film are not close to most of the audience, they His words, deeds, thoughts and thoughts are very close to the audience, as if it is an alternative existence. Years are perishable, aging becomes unstoppable, it is normal to have more than one’s strength, confidence collapses, and the foundation stone that was originally thought to be solid can be instantly wiped out, calm and hard to find, want to get but not get it, seem to have it but also It is erratic, self-relieving on the one hand, entanglement on the other, hard work on the other, and naked rupture on the other...During this period, the audience's heart follows the interpretation of the character's ups and downs, but it seems to be in love with the scene. In the face of nature, human suffering tends to be insignificant, because the charming scenery in the film seems to be able to eliminate the pain. People have only passed through the predicament of survival, but they are still able to pass. The pain in the heart is still there, but the ultimate decisive behavior is It's an individual, most people choose to keep going and see how bad it will be, or how good it will be. All these movie-watching experiences are just like Baudelaire’s words: "Sometimes I feel that I am bleeding a lot, as if a spring is weeping rhythmically. I hear the blood flowing, but I feel it. Go, but can't feel the wound."
The translation of the title "Youth" into "Youthfulness" is not as appropriate and transparent as the other translated title "Youth". Propositions such as time and youth are obsessed by many creators, and they are also the ultimate propositions that everyone can't escape. It is also a literary theme that is of interest to many audiences. Sorrentino expressed his interpretation through the vacation of the "old artist". In this seemingly long, leisurely and comfortable time and space, various stories and emotions are easy to breed and spread, and Sorrentino breaks up. In order to understand the integrity of the story, it starts with points, lines and faces, and tells people's passing and remaining time from the perspective of objective observation or subjective depiction. The deceased is long gone, and those who come can still be chased, leaving a little hope in the melancholy, showing a touch of warmth in the lingering dazed.
In terms of emotion, the film involves friendship, family affection, love, dew affection, and friendship of understanding. The selection of scattered story fragments touches reputation, creation, experience, gap, debugging, etc., and adds it to seemingly habitual behavior. In the context of emergencies, the mood of the protagonist, supporting actors and even the group portraits is the finishing touch. In terms of the depth of thought, the film seems to cover life and death, the past and the future, loneliness and companionship, soul and sensuality, etc. There are so many people, but they can all be attributed to the theme of "Youth". This is Sorrentino's intelligence and one of his intentions.
It can be said that the film is very literary. First of all, the protagonist’s identity is very literary. In the film, the conductor and musician Fred played by Michael Kane and the famous female director Mick played by Harvey Keitel seem to represent There are two different kinds of art—music and film. However, these two different forms of beauty can be combined very well, leading to a good expression of a good proposition.
Although in the discussion of many issues, Fred and Mick both showed commonality as old men, such as the gaffe when they met beautiful women in hot springs, but more often, these two people showed their mentality. huge difference. Compared with the retired Fred, his mentality is relatively calm, and he is indifferent to the invitation of the Queen’s envoy. Mick, who is still racking his brains for his last movie, looks much childish when he is old. A group of young people were gathered to create and discuss the script together, as if they wanted to draw fresh nutrients from young people, combined with their own qualifications and experience, to produce a handed down work. It seems that many directors have a long adolescence, such as Bergman. Ingmar Bergman once said: "I feel lonely in the outside world. So I seek refuge in the realm of emotions. No matter whether it's just a phantom or not. I only came out of youth at the age of 58." Tend to youth. This seems to be the creative advantage of a creator, but it is also the crux that the person concerned must face. If it is not handled properly, it will bring negative consequences, just like Mick.
In dealing with the emotional issues of his children, Mick also appeared radical, thinking that he could control the thoughts of his son-in-law, while Fred's way was much more mature and gentle. He listened to accompany his sad and crying daughter through the difficulties. The two old people’s bet on the relationship between an old couple always wins. Fred always wins. It doesn’t mean how smart Fred is, but that he has already been immersed in the state of being calm about the elderly. What Mick does not possess, who is trying to retain his youthful tail. Different dispositions determine different endings. As Salinger said: "The sign of an immature person is that he is willing to die vigorously for a certain reason, and the sign of a mature person is that he is willing to die for a certain reason. Live humbly for this reason.”
In the comparison between the past and the future, between youth and aging, Mick once had a classic line: “This is what you see when you are young. Everything looks very close. That is the future; when you are old, what you see will be like that, everything is so far away, and that is the past." When the shocked Mick turned out all the female images he had photographed before his eyes, perhaps he had already determined himself. Can't see the future.
For a good movie theme, the application of music often plays a close and far-reaching role, and can better connect the past with the future. When Fred finally threw his happy spirit away and appeared on the podium of the royal concert, his most famous song "simple song" finally sounded, as a kind of remembrance, a kind of comfort, when the years passed, all When everything is gone, the reverberations of past songs are like the smell of attachment floating in the air, letting the past hit my heart and giving comforting warmth.
(Magazine manuscript)
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