It is rare to have the urge to write a review after watching a movie. I don't want to write so well, but I want to record some movie viewing experiences.
Let’s talk about Zula first, because the first thing that comes to mind is Zula’s face, which is melancholy, world-weary, and seems to have energy and passion that may be poured out at any time. During the selection, she sang the song about the heart, which calmly captured Victor's heart.
But Victor is leaving. He's a composer, arranger, and in his own mind, that's not all. In his own mind, he should be a free artist. He decided to take advantage of the opportunity to perform in East Berlin, take Zura away from the proletarian literary and artistic camp that interfered with his creation, and go to Paris.
The cigarettes went out one after another, and Zura did not come.
About two years later, or three years later, the time on the big screen always passed two or three years. In a Paris tavern, the bartender suggested that Victor change his drink before proofing, because that one closed at one o'clock, and then Will tell him that if the person you're waiting for hasn't come by this time, it won't come. There was a sound at the entrance of the tavern, and Zula appeared, and the young and lovely face was brightened by the black coat. This is the first time they met after Victor left. I don't know how she got here, I don't know how they met here, I don't know, I didn't say it, they just kissed twice and returned to their respective places. in life.
The second reunion, Zura is to stay with Victor. Because she succeeded in taking a chance and marrying an Italian, in order to be able to come to Paris to be with her true love, she melted her love into each other's bodies.
When a songwriter and a singer fall in love, who can't say it's a match made in heaven. The Russian song about the heart was changed into a Parisian jazz flavor, with a bit of laziness and hoarseness added to the pure voice, and the audience was intoxicated. The same song was translated into French by Victor's own poet ex-girlfriend. "The pendulum stops time," the baffling phrase of the poetess angered Zula. "Where's the heart?" Zula left the lyrics and left the seat in anger.
Later, at a reception, Zula went to ask the poetess what the word meant. "Metaphor", the poetess said, "when two people love each other, time doesn't matter anymore". That day Zula locked herself up drinking stuffy wine, and she didn't understand such a metaphor, which annoyed her. Perhaps what really annoyed her was not the lyrics at all, nor this arrogant poetess who wrote inexplicable poems. What annoyed her was that here, she was always in sympathy, like a stranger, with no sense of belonging or identification. . "I think it's better to live in Poland," she said with a stubborn face when the poetess boasted of Paris' cultural life. "Then why did you escape to Paris?" At that moment, she might suddenly realize that in the eyes of the people around her, she had fled Poland and went to Paris.
Victor is, but she is not. She loves the Polish countryside, as well as the emotional singing style of folk songs, the straightforward and sincere lyrics, not the metaphors of female poets playing tricks. While in Poland, she slammed into a river during an argument with Victor and floated on her back to sing. This is the song of the wilderness, sung by a wild soul. For her, Paris, the hypocritical city and crowd under its bright and beautiful appearance, is really out of tune with her.
"Empty", when the record player Victor called a great recorder, commented on Zula's voice when she first recorded the record, which was completely different from the aura and vitality when she participated in the selection for the first time. Her heart has never accepted this city, nor its culture and art. Holding the record she made together with Victor, she threw it aside in disdain and cursed "bastard".
She left Paris and went back to Poland. Victor fell into deep helplessness and longing.
He secretly went back to see him, but was sent away overnight by the secret police.
So he decided to give up the so-called free artist life and return to Poland. But what is dramatic is that at this time he has neither Polish nor French nationality, "equivalent to a non-existent person". To return home, to Zura, I don't know until he accepts some secret assignment in exchange, perhaps to inform the authorities about the Poles in the music scene in exile in Paris. But instead of getting his wish, he was caught by the authorities as a British spy and detained for fifteen years. Zula comes to see him and tell him I'll do everything I can to get you out.
This method is to marry and have children with the manager of the art troupe, and use the manager's relationship to let Victor regain his freedom.
Victor, who was released from prison, watched Zula, who was beautifully dressed, come down from the stage, fell, and climbed up, revealing her plump breasts from the neckline of her shiny skirt. She didn't even glance at her husband and son. "Take me away," she told him.
It's the roofless church at the beginning of the film again. After the two took the oath, they each swallowed a row of pills. They sat on a roadside bench for a while, and Zura got up and said, "Let's go to the other side, where the scenery is better." So the two walked out of the screen and played a gentle piano music.
Lara Zaza retells the plot from start to finish. I really like the director's narrative, which is concise and clear, with appropriate blanks. For example, there is no explanation of how they agreed to meet for the first time in Paris, although it is difficult to achieve in the imagination, and it does not explain why Victor is. Missing two fingers. But knowing the result was enough for the audience to imagine the torture Victor suffered.
The picture of the film is as simple as the narration and lines, and it has the style of the director. It is a pity that I have not seen "Sister Ada", but this film gave me interest.
Why did they have to die in the end?
Maybe, in this country, or not in this country, there is no way to live. Under such ideology, once you do not agree with the official, it is equivalent to becoming an enemy of the state. It is equivalent to, even if you love your motherland and hometown, but the manager tells you that if you don't love me first, then you are not even qualified to love, because there is no place for you here.
Where is the "other side" in the last line, they have been to Paris, where the scenery is not what they like. Is it the world after death? What's the view there? They are talking about the other side of the road, but what we hear is their ideal state of the country, where they can freely love each other and express themselves freely. rather than being an exile in the homeland.
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