I said to myself, this is really a beautiful movie, full of power and quite mature. It presents a theme I'm all too familiar with, and it's a real success. - Claude Lanzmann
The director Claude Lanzmann, who filmed "The Holocaust", which explored the tragic experience of the Jews in World War II, expressed his intuitive feelings after watching "The Son of Saul" in Cannes. The rigorous view of history presented in the nine-hour documentary film "The Cataclysm" and the strong collision of testimonies are widely regarded as opposed to the classic Hollywood drama model. . When Lanzmann was invited to watch the debut of Hungarian cutting-edge director Laszlo Nimesch's debut "Son of Sol", he unexpectedly expressed his intimacy with the film, as Cannes director Thierry Fumau said: "Direct The era of witnessing history is over, should we just be content with archiving history and not try to make new images? The younger generation, and the film itself, are not qualified to creatively experiment with stories in order to avoid the risk of getting lost Is it?" Lanzmann agrees with such a reappearance of history.
Starting from the unreasonable behavior of Sol, a member of the concentration camp contingent, who tried to bury his "son" in the death zone, the "Son of Sol", which integrates all the shots and the protagonist's behavior, provides a kind of historical re-creation. Possibility, that is, with the attitude of archetypal history, approaching the truth and at the same time reconstructing rational knowledge on the basis of history. This is the opposite of the Hollywood drama model. Films such as "Schindler's List", "The Pianist" and "Black Book" establish empathy between the characters and the audience, bringing the audience into In the creative logic, with the deepening of the play, the emotions of the characters and the audience will be raised, and the audience will be delighted when the character image is established. It is this kind of psychological pleasure that does not agree with another type of creators with a strict view of history. They believe that the creation of movies about history should be more rigorous, facing the rough and wet side of history, and the view of history in movies. It should not be wishful thinking to avoid evil and promote good, but it should be near-real, inescapable, mixed with time and space of human nature. Emotions about dark history are like what Lanzmann said to Havoc: Those who died have no mausoleums, and this film is their mausoleum. History is not only the story of the living, but also the dead.
So seeing "Son of Sol" in a way that discards empathy and cuts in a plane feels different from the surprise of watching the movie before. The way the camera follows Sol makes the audience emotionally unable to have human touch after experiencing the tragedy of life and death in the concentration camp. The disgust and discomfort of the content presented in the picture occupy most of the perception. It cannot be said that this is the correct way to open up history, but at least it pushes away the usual imagination about the beauty of history. For the well-known history that already exists in our minds, we are accustomed to define it with a view of history, we are accustomed to jumping out of the cage of the past, to make an objective evaluation in a past perfect tense, to examine the past with the attitude of God, and the perspective of God implicitly requires We need to obtain the perception beyond the objective existence from the familiar whole, perceive human nature, and hate to destroy the true behavior of human beings. These are the best answers written from the reading comprehension of the macroscopic panorama.
If the majority of modern film about history is doing this reading comprehension, then how it is written is irrelevant, but Laszlo Nimesch's film directorial debut doesn't seem to focus on reading The answer to comprehension, his Son of Thor is more concerned with how reading comprehension happens. It can be said that "Son of Thor" is an answer about the creation of history, a more sophisticated supplement to the way history is reproduced.
But history is what happened in the past. Modern people cannot accurately replicate that state and the background in which it happened, especially in the concentration camps of that era. When bystanders extract human hymns or anti-human sympathy, only the survivors remain Looking back on the past from the perspective of the experiencer, it belongs to the memories of the living and is also a consolation for the dead.
Taking Sol's perception as the perception and Sol's will as the will, the close-focus telephoto lens focuses on the individual and also blurs the distant view. The unfolding of personal perspective actually gives a premise when watching this story, that is, everything that Sol feels must be felt by the audience, and the emotional factors of the audience need to follow Sol's internal changes to better understand the story. This is Lars. Lo Nemesch explains to the audience the important premise of "how to produce this reading comprehension", but when Saul is absent-minded about the fate of a group of people in order to understand from the audience's perspective the concentration camp children who are not his "sons", this kind of Going against the logic of ordinary people's thinking has to make the audience suspend the movie-watching mode of advancing and retreating with Saul, and instead think about why Saul attaches so much importance to "son". This behavior of entangled emotional logic can easily make the audience fall into Struggles with the plot and abandons the historical experience of Laszlo Niemesh's construction.
This is indeed a story that is difficult to understand in the context of modern society. It can be inferred from the plot before and after that Sol has no "son", so why did Sol take the risk of betraying the team in the name of "son" and be buried with dignity?" "Son", burying "Son" will drag down teammates, and may also kill himself. This kind of behavior without any benefit is completely inadvisable to be interpreted in the 21st century. Therefore, what is the story of incomplete logic expressing, Laszlo ·Nai Mai wrapped an unbelievable story with a deep surface?
The most profound is the surface, and the cinematography, soundtrack (without music), and mise-en-scène serving the story of Son of Saul all exemplify this attribute. The depth on the surface expresses Laszlo Nimesch’s carefulness towards this untouchable history and his respect for history from the depths of his heart. On the contrary, the narrative from the core of the film is not so profound or even difficult to meet the requirements of current values. Self-righteously eye-catching.
Sol is not played by professional actors, and the poet-turned-Gezzo Rochrig said about why he played the role, saying: "I took the role because Sol's unconventional behavior aroused me. I really want to explore Saul's inner world."
How Thor's character sees the world, war, oppression, and victims, from Gezzo Rochrig's performance, we don't know anything about the inner impact of personal past experiences on Thor, nor can we analyze it. Saul was hesitant to oppose oppression like his teammates, but what is certain is that everything in the concentration camp is extremely disgusting, revolving around execution and killing. Except for the perpetrators of crimes who can obtain perverted, twisted pleasures, there is not a moment when everyone else does not pray for the suffering to go away.
How to get out of here is everyone’s extravagant wish. In the long run, it is faith. The devout Christians can endure the unbearable weight of their lives for the sake of the noble Jehovah. The victims of the concentration camps can also give up everything in order to leave, even if they discard the only carrier of life. —Life; to live truly is to perceive, to possess, and to be the unquestionable belief of the sufferer.
But Sol doubted, or in such inferior and extreme conditions, Sol no longer had the illusion of struggle. He should have realized how lucky he was to be able to escape. He did not rely on his attachment to escape. His greatest wish in life at this time was running counter to others when he should be unified with others.
The escape plan that dragged down his teammates, what Sol insisted on, until the smile at the end of the film, which contrasted sharply with reality, may be Sol's answer. Risking his life to find the pastor without hesitation, the stiffness and numbness of discarding the child's body when escaping, the burial of the dead subtly became the sole purpose of Sol's behavior, that smile is too insignificant compared to a stable life, the smile reflects the A momentary state of mind, a moment of satisfaction, a perceptual experience, a subtle state of mind that is difficult to understand. What Nasol pursues is also a kind of sensibility, a kind of existence that transcends matter. When the victim's spirit was dragged down by various hardships, Sol's existence gave people the possibility to rebuild the spiritual world. The more suffering, the more noble people's beliefs.
As for the film itself, although Laszlo Nemesch deliberately made it objective, the hidden emotional clues of the story show that the director still vaguely showed his attitude, burying the dead children and giving the dead their last dignity . It is an incomprehensible and absurd firm belief, but behind the text of this belief is highlighted the humanitarian consolation hidden in the shadows by the film controller.
Digging into the history of persecution from the perspective of the dead will only deepen the resentment against the perpetrators, not to mention a past that is reluctant to mention.
When history is gone, how should history be recreated? "Son of Saul" uses a close-up, long shot that follows the characters to construct the historical state of a specific scene in the eyes of the little people, which is different from the other side of "Schindler's List" to face the catastrophe. The ontology has been appreciated by the industry, the significance of artistic imprint is greater than historical records, Sol's situation belongs to the film rather than history, but how does the story that relies on historical empathy not shape the empathy of the characters express, despair? people's beliefs? Perhaps the attitude of a vague vision focused on personal practice is a noble belief beyond the world.
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