"Zhivago" can be said to be a romance film with social turmoil as the background, so "Yuri and Lana's fourth clutch" can be used as a clue to sort out.
When they met and separated for the first time, a man would have a wife and a woman would have a son-in-law. The man seemed to be tempted by the woman, and the woman almost ignored the man, which was absurd and sad. In addition, Yuli's life seems to be particularly beautiful. He is the best young poet in Russia. He graduated third in Moscow and became a doctor. In other words, Lana's life is a typical tragedy. Her mother committed suicide for her own reasons, was raped by her lover, and then attempted to shoot Victor in public. Her fiance's future was uncertain and her status was low. The body was severely tortured.
At the beginning of the film, a huge ethical discussion was staged. Lana's affair with her mother's lover, Victor, is an incestuous version of Borges' "Lolita" and Watanabe's "Under the Cherry Blossoms."
A young girl with a bright future is sullied by a middle-aged uncle who is old enough to be a father by a philistine philistine Reminds me of Eileen Chang's "Half Life" where the talented and handsome Manzhen was half deceived and half forced to conceive her brother-in-law's child In Hosseini's "A Thousand Splendid Suns", the young and lively Laila was married to a second wife by a conservative and ugly shoemaker. In "The Happiness of Istanbul", the girl Mary was raped by her uncle.
The second meeting is the front line of the war, Yuli is a field doctor, and Lana is a volunteer nurse. Yuri was still obsessed with Lana, but this time Yue Lao did not forget to put the other end of the red rope on Lana's hair. The two fell in love, but they were pure and gentlemen. Yuli didn't forget his wife and son at home, and Lana also reminded Yuli, "We can't do something that's sorry for Toni."
The third encounter, the October Revolution has passed, the Tsarist era has become history. The specter of communism stared across vast eastern Europe and Siberia, watching the end of private institutions and the market economy. Supplies are in short supply, people are dying of starvation, people are struggling to survive, society is orderly in the light, and people are everywhere in the dark. The slogans that marched in the streets chanting "Equality and Bread" have not been forgotten, but there is no bread, and even less equality. Absolute equality replaces procedural fairness, collectivism overturns individualism, and stifles all sparks of freedom. I don't know if Hayek and Friedman have seen the film, I wonder if they'll be dancing and crying in pain. I shed tears of sympathy for the fact that there are human beings in the world who have suffered such a severe disaster because of institutional factors, and I applaud the successful verification of my statement that "totalitarianism is the road to slavery".
In the first year of junior high, I was told how great and inspirational "How Steel Is Connected" was, and how amazing Paul Korchagin was. I asked my father to buy that book for me. After watching it, I only remember that Tonya didn't love Paul in the end, and that the Soviet people were living in hell. It was also around this time that I began to learn from the mouths of my elders and the records in the book one after another that the kingdom of heaven also had such years. There is a scene in Zhigova where the train stops to make way for the leader's personal train; there are chapters in Steel where passengers get off to help lay the tracks. These two scenes, seemingly unrelated, are all too related, giving the people a great hat and then arbitrarily trampling and bullying.
Against such a background, Yuli's family went to the Ural Mountains for refuge, while Lana waited nearby for her cold-blooded but cruel husband who was the leader of the people. During the long winter and dark nights in Russia, Toni encouraged Yuli to go out for a walk and read a book in the library. So the two met, and with tears in their eyes, Lana asked Yuri, "Are you okay?" The disaster of the times made this greeting too heavy, but also very warm and beautiful. Although "death and life are bound together", he wants to "speak with Zicheng (yue)". This picture is again "Love in a Fallen City". In the beacon-fired Hong Kong, among the broken walls, Bai Liusu waited and returned to Fan Liuyuan.
When the next second of life is full of uncertainty, one can only think of how happy one day can be. So Yuri and Lana try to forget Toni, and the two cross the line of fire. Lana was lying in Yuli's arms and asked, "What should we do?" Yuli's answer was "I don't know." But when Yuli watched the picture of Toni picking vegetables in the garden with a big belly, the responsibility And remorse all came to my mind. I felt a little sour in my heart. When the audience saw Toni for the first time, she was a young lady who had just returned from studying in Paris. In just a few short years, Tao Ni became a well-mannered housewife and mother of two children.
So Yuli rode out the door and said to Lana, "I will never come here again!" Lana said, "You will come again." Yuli was about to go home, but was taken away by the guerrillas and went to be a Field Doctor.
Wide-angle, telephoto, the picture switches between the vastness of Siberia and the insignificance of the characters. The replacement of the sequence breaks through in a flower, and the back of the person disappears into the vast background. Summer accompanies the recovery of the vast land, and then the long winter wrapped in ice and snow. The grass grew, green, yellow, withered, thanked, and covered with heavy snow, no one could do anything about it. In the boundless vastness, people are insignificant and helpless.
Yuli left the guerrillas and walked alone in the vast snow, leaving a long series of footprints behind. The footprints were very abrupt in the heavy snow, but after a heavy snow, they disappeared without a trace. . I remembered at the beginning, when the tsarist army suppressed the youths on the parade, the blood stained the white snow, but after a while, as the bodies were taken away, the streets were white and clean again, and the place that was supposed to be the main road was still jubilant with horses and horses. No one remembers that the ground beneath their feet was sacrificed with blood.
Yuli returned to Yuli Pavilion and was told that his wife and children had moved out, so after all, Lana was right: "You will come again." Lana's residence was filled with mice, and Yuli could see it. My heart skipped a beat, but when I opened the door, there were still sunflowers that Lana loved, decorating the hut warmly and cheerfully.
This is the fourth time Yuri and Lana have met, and they never want to miss each other again. So he moved to the old house of Tuni's family and lived a frightening but romantic life. Toni ran the house and Yuli wrote poetry.
This happiness is soon to end, Victor brings news of the death of Bouchard (Lana's husband), who has made countless enemies during his life, and Julie is included in the list of political dangers due to his background in Paris. Victor persuades Lana and Yuri to go with him to Vladivostok, to the Pacific Ocean. Lana wanted to save Yuli, claiming that Yuli would not go and she would not go; Yuli wanted to hold Lana's life, saying that he would go after that. Lana got on the train first, and she knew that Yuri didn't like Victor and could not go. But for the sake of the child in her womb, Lana left after all. The identity of a mother can not only make a woman calm in the face of death, but also make a woman bear the burden of humiliation in the face of humiliation.
Smashing the ice-covered glass, just to see Yuri send Lana away, and look at her lover a few more times. Since then, Yuri has never seen Lana again. And the last time he met Toni was two years earlier than that. In the end, Yuli returned to Moscow. He saw a person whose back was very similar to Toni. He tried to chase, but his thin heart no longer wanted him to be tortured in this world. He fell down on the streets of Moscow. up, never got up again.
The story was retold by Yuli's brother to Yuli and Lana's daughter, and that's it. Although there are still many suspense unsolved, such as what happened to Toni, are the children still alive? And whether Lana's first daughter is Victor's or Boscia's? What about fate? This series of questions, like the fate of many Soviet people, is full of unknowns. Perhaps the writer and director did it deliberately.
The three protagonists: the husband has ideals, justice and responsibility, the wife is warm and generous but gentle, and the lover is romantic and kind. Toni and Lana, one is a wife who accompanies them day and night, and is impeccable; One is a red rose and the other is a white rose. But Yuli never thought that the red rose was mosquito blood because he married it, and the red rose was still a cinnabar mole; nor did Yuli think that the white rose was white rice because he was lingering with the white rose, and the white rose has always been his heart.
Married Meiyu Wuxia, but loved Langyuan Xianpa. There are too many stories in this version, too many for me to tell. The former is gratitude and affection, and the latter is pity and love, the most common version of modern family ethics.
If this film is just a love film, I should stop writing about it, but because of the heavy background of the times, it is too unlike a love film. It can even be said that it is an epic with love as the background, recording the times.
The indifference of the middle class to revolution, the fear of war among ordinary people. The numbness and ignorance of the party members at the bottom, and the ruthlessness of the leaders at the top.
The Bolshevik Party solemnly declared: "Individual life is dead, history has wiped it out!" It seems like a villain, full of bandits.
After being robbed of her property, Tao Ni's father roared: "A neighborhood committee that claims to be righteous, under the guise of the people, confiscated our house, but don't forget that I am also one of the people." He was angry but helpless.
Yuri asked a soldier: "Don't you miss your hometown?" The soldier replied: "There is a war everywhere, I don't have a hometown", full of desolation and desolation.
When Yuli followed the Red Army to annihilate the rebel army composed of old people and children, he passed a frozen lake and stepped on the ground breaking ice, as if the earth was groaning in a heart-wrenching way.
Lana's sigh: "It's really a misery to live at this time", except heavy is sadness.
Victor said to Lana: "There are two kinds of men in this world, the first kind of men like Bercia (when he was still a student, he looked full of idealism), the kind of people the world pretends to praise; the second kind of men, like I am a very real person.” In fact, the typical representative of the first type of person is Yuli, the world pretends to boast but is unwilling to do it, the second type of person is Victor, the world pretends to despise but rushes to it. Ideals seldom stand still in the face of reality. People can think about problems without thinking, but they have to dress, eat, and sleep no matter what. But the so-called idealism is actually a kind of elite consciousness, hoping to spill the value of life into the body and water the whole society, which has a great positive externality. So normal people, even if they don't want to do it, still welcome more people like this, so that they can hitchhike easily. If some people despise ideals and call ideals weak and stupid, it is probably because of spiritual equality that they hope that the society "will be black in the world, and black and black will share with each other". Take Victor, for example.
Some time ago, I read Le Pen's "The Crowd", so that every time Bouchard appeared on the stage, this book would come to my mind. Bouchard has too many characteristics to incite the masses to become opinion leaders, under the banner of benefiting mankind , to seek his own desire for power. Because he has been at the bottom of the society for a long time, he is full of anger and resentment, so he calls on everyone to resist together, replace privilege with privilege, and injustice with injustice, like too many Chinese-style peasant uprisings. "Landlords are so abhorrent, they have so many wives, so we have to sleep with the landlord's concubine to punish the landlord", this logic is too absurd and ridiculous, but it has been tried and tested in demagogic.
In fact, the film also has scenes of hard work, such as everyone dancing on a crowded and dirty train. Yuli led his son to collect potatoes in the garden, which reminded me of Xiao Hong who followed his grandfather in the garden in Hulan City, planting peas and melons, and the pastoral warmth came to my heart.
I was particularly impressed by the two close-ups of the table, and after the first close-up, Yuli went to the library. Yuri's heart trembled with the stool the second time he closed up the table. Yes, Woolf said, writing requires a desk and an undisturbed house. So Yuri went out to drive away the wolves and began to write poetry. Totalitarianism excludes writing poetry, because writing poetry is individualism and capitalism.
But human nature cannot be squeezed. In "Ben-Hur", Ben-Hur said to him: "You can conquer the land, but you can't conquer thoughts and beliefs by force."
Ending: Lana and Yuri's daughter carrying Qin, the couple next to him yelled at the back: can she play, she is artist! No one teach her””that is her gift!” This echoes the beginning of the film: Yuli’s mother died, Toni’s mother said Yuli Li's mother is an artist, and Yuli will also have a gift!
Under the turbulent dam, a rainbow rises. It seems to say: "No matter how great the power of man is, it can't resist nature. Art is eternal, truth, goodness and beauty are eternal. . "Just like the quiet birch forest, as always. (PS: There is a book called "The Quiet Birch Forest" dedicated to Russian art)
If I just watched the film, it seems like it should be over when I write it, but the history training in high school made me especially vigilant about the authenticity of the pictures presented in the film. It was shot in 1965, right? It was shot in the United States. At that time, it seemed to be the second stage of the US-Soviet hegemony. If every book has a humanistic concern of the writer in it, every film also has the value position of the director and screenwriter in it. So, Hayek said in my left ear: "This is the road to slavery", and the socialist view of history said in my right ear: "You have to be careful about the peaceful evolution of the West!"
Haha, you have to Fight or fight, whatever, it has nothing to do with me anyway. I just write about my feelings about watching the film and say what I think makes sense, but I don't want to hear a word of it that seems inspiring.
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