"...she described to me some of her stories, interspersed with cruel and ugly facts, insignificant lives, and other plots that she knew at first sight were made up under the guise of movies and graphic novels she had seen. She stubbornly insisted The reason to confuse the two is to be able to believe, heartbroken, that her unfortunate life is just like the life she has decorated and narrated with the innocent and sensual dreams of an ignorant little girl." The heroine's innocence and perseverance and the accidental luck of fate And often cruel, Fellini shows it well with this quote
Weird (female clothing and male squeamishness) appearance and identity as a prostitute.. it's rare that Fellini doesn't look for the tragic factor from her prostitute identity but keeps covering up/never mentioning it (the audience only has Find her true identity in some clues) The diluted meaning of this identity does not even lie in the emphasis caused by female identity (otherwise Fellini chooses this kind of appearance is unnecessary), nor does it lie in the nihility of love (here love is a good life , it is not the theme), but the heroine as the representative of "all beings". She is not the extreme of rich and poor, she works hard and is proud of the house she bought. She was shocked by other people's castles, and she was indeed qualified to be moved by people who lived in caves. She is in the middle, it may be difficult to reach the former, but she can easily fall into the latter. That's the complexity of the role
Fellini gave everyone a surprise at the beginning - the lover's laughter and the rapid escape into the "murder" The heroine's response was not thanks, but full of courage, and the crowd did not show moral kidnapping in a vulgar manner, but half-joking and half-joking (don't take it to heart). above) This is where Fellini handled it brilliantly
Unconsciously joined the prayer of the Virgin Mary because all beings are suffering (Fellini consciously or unconsciously revealed the power of religion) but finally rebelled against religion. relative hedging
Tragedy has been overshadowed by farce until the end, but power emerges. In the end, it's not a happy scene or something that feels noisy because she blends in, not against the crowd or isolation. Fellini is showing how a person survives. This is Nietzsche's "Superman" "Will it
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