Kabylia's original name was Maria, but she was hidden behind the name of Kabylia-Second, which is the best footnote to Kabylia's own hidden and inferiority attributes. The blessing of being a prostitute caused her to be exposed in the public space, and her body was no longer private. But that pure heart was not stained in the slightest. The reverse setting of body and mind is the film's greatest irony about the hidden filth in society.
The tragic setting of this film lies in the self-disintegration of the fragmented narrative structure. Kabylia's life is fragmented into narrative segments dominated by four men. George, male stars, philanthropists, and accountants form an allegory of what happened in her life, and each passage reinforces her tragedy layer by layer with the sense of loss in her situation.
George, the man who appears at the beginning of the film, naturally assumes the function of directly revealing Kaliya's character. For the first time in this film, the sunglasses are symbolized on the face of Kalibiya's boyfriend. He premeditatedly pushed Kabylia into the river and snatched her purse. The dead Kabylia woke up but kept calling out George's name. Is it because she herself is unwilling to admit the fact that her love is broken, or is she that simple?
Encountering a male star is a narrative break in Fellini's realism, and it only amplifies the failure of Cabiria's own desire to break free from a miserable fate.
The first time Kabylia revealed his real name was in an encounter with a philanthropist. The more she has nothing, how strong her faith is. When she saw the philanthropist's kindness to the hungry, she longed to communicate with the philanthropist, but the philanthropist was a person who kept his mouth shut and showed no emotional communication on his face. She had to give up. This short passage to the Buddha foreshadows the brokenness of Kabylia's faith and loyalty.
The accountant caused Kaliya to fall into the ending of being deceived because of infatuation again, which made the film have a head-to-head narrative, with a sense of loss. We accompany Kabylia through time and meet different men, but it doesn't make her grow. She is still the same as the beginning of the film, wholeheartedly and unswervingly trusting the man who expresses her love to her. Interestingly, the accountant is the second man wearing sunglasses in the film, which echoes the identity attributes of George at the beginning. Only this time, Kabylia has lost the home she has always been proud of - the house. She became a total wanderer, as the song and dance group at the end sang - couldn't find her way home. But she still smiled the most beautiful face in front of the camera. She will continue to dance optimistically and dance her own destiny heartily.
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