2. Stupidity is more intolerable than lack of conscience.
3. Refuge, whether in games or movies, is just another way of saying dungeon.
4. When you have a clear enemy outside you, you can forgive yourself for everything.
5. The only proper way to deal with the seriousness of history is to make it comical.
6. Correspondingly, even in a generally serious life, it is inevitable to play obscene comic roles all the time.
7. Don't lie to someone who trusts you - he will literally throw up on a telephone pole if his heart is pure enough.
8. Wearing glasses is the best way to make a rogue look decent. If it's not enough, get into a wheelchair again.
9. You can tell from the thickness of a person's eyebrows whether he is a leader, or just a middle and high-level cadre.
10. When the war is over, in the tunnels to Berlin and Athens, you may never find your own country again.
...
I used to think Inglourious Basterds was a good one for a playful retelling of war. Until this "Underground".
In the final scene of the film, the ground under the feet of the people in the carnival begins to break, and these ghosts who have lost their country eventually become an island. Through the special movement of the camera, the director has set up a wonderful illusion here: at first, you will think that the main land is far away from the small island under their feet; however, when the camera zooms out, it is actually the land under their feet. After retreating, sailing away from the mainland, gradually drifting to the middle of the deep water.
Although there is a suspicion of over-interpretation, this treatment fits the fate of the people in the film: at the beginning, their country was forced to be involved in the war, and the world of ordinary people separated them from them, isolating them underground; however, when the war ended , everything on the ground has long returned to operation, this time they chose to leave this world and exile themselves in the dungeon and eternal war.
In the underground, fifteen years or twenty years, the five years of being stolen are no longer important.
In fact, they have been lonely ghosts a long time ago.
It's an absurd comedy full of jokes every minute from start to finish. It is two hours and twenty minutes long. Its background music is cheerful and loud trumpet. Every act of it could be the end; it never seemed to end. But in the end everyone dies; in the end everyone who dies is trapped underground forever.
...
and many more clever designs. Like Blakey chasing the burning wheelchair, holding up his coat in vain, trying to cover the charred corpses of Natalie and Marco in the wheelchair. The wheelchair revolves around a pillar on which the cross of Jesus hangs upside down; a white horse, a symbol of the unicorn, paces past the edge of the picture. In the end, Blakey gave up his efforts, put his head on the back of the cross, and kept hitting the hard stone pillar with his forehead. At that moment, a prostitute, a liar and a tyrant, two corpses and a man who had lost even the most hypocritical love and friendship, as if all three were forgivable.
Another example is the role of Natalie. On the stage, she is an exaggerated and contrived actress, but off the stage, she is a full-fledged actress, ruthless, empty of soul, and empty to the extent that it is not even ugly. The above character settings seem to make people think of many involuntary beauties in movies. Although they are also ruthless, they are often the result of fate teasing and emotional trauma; however, Natalie is a completely anti-routine character. : She seems to be born with no shame, and she lies a lot but has a weak personality. Whether in the real war or in the post-war flattery film, she played the pure vase who always screamed, fainted and raped; she was forever dependent on men, liars, bandits and Nazis, whoever it was Men can. She wasn't even pretty enough, her blonde hair and almond round eyes smelled of plastic, too cheap for her femininity. It can be said that this is an objectively unpleasant negative character. In the movies I have seen, it is the first time that I dare to deal with the heroine like this. But at the same time, whether it was taking care of her mentally handicapped younger brother in the early stage, or using alcohol to relieve her worries in the hedonic life that Ma Ke lied for the two of them in the later stage, it seems to imply that she is not without a conscience. Everything she did, those almost instinctive actions to sell her soul, ultimately pointed to her weakness - she is not a person who can stand up in troubled times, but how many people can?
From Natalie, you can see the director's treatment of each character in the film: all the characters in this grand ensemble play, regardless of priority, without exception, are harlequins. They are either vulgar, or stupid, or both. The baby that the mother gave birth to with her last breath in the flames of war was supposed to symbolize new hope, but turned into an idiot; the young bride in a white wedding dress looked so beautiful and desperate at the wedding banquet where the demons danced underground, but Sitting beside her were an overweight mother who was also wearing a white gauze skirt, and Natalie, who was madly drunk and debauched in a red dress. Between the two futures, she seemed to have no other way. The stubborn animal breeder brother is probably the most positive character in this group, but he is also inherently lacking in intelligence, and he still inevitably shows the joy of a small person all the time. As for the two absolute protagonists of Blackie and Marco, from the moment they made their absurd appearances on horseback, they became the biggest bugs in a group of harlequins in the film.
But people are inherently incomprehensible. There has never been a truly dignified life.
As a result, Blakey, who directly caused the death of his wife and son, still blamed the Nazis, Marco, who was a traitor to his country and was heavily indebted, but looked like a great singer, and Natalie, who was unprincipled and helped people around him to do evil many times. , although it is wretched and ugly, it is also worthy of forgiveness.
In addition, I strongly doubt that Jiang Wen's creation of "Let the Bullets Fly" was inspired by this film.
View more about Underground reviews
