Ivan's childhood begins, intersperses, and ends with boys' dreams. In the analysis of dreams, Lao Fu Shenshen said a whole book of dreams is a modification of wishes, while childhood dreams more truly reflect the essence of their wishes. The 12-year-old boy's wish is very simple, to play beside his mother and eat apples with his sister. The scenery is like an idyll, quiet and beautiful. Even in black-and-white movies, it seems that you can see the little boy's blond hair, the golden sunlight on the ground, and the shadows of the stars under the water. This is the most ordinary life, shouldn't childhood be like this? Such a life in the war years can only be a luxury.
The more beautiful the dream, the more cruel the devastation you see when you wake up.
Seeing that the little boy was young and mature, he ran to the headquarters, gave his code name and asked to contact the headquarters, and wrote the enemy's information with a pen. His eyes are strong and resolute, his standing, sitting and even eating are far beyond his age. He is more conscious and revolutionary than our little soldier Zhang Ga back then. Only in dreams and when facing special people does he return to his true self. Is he seeking to defend his great country and homeland—certainly not, a home without family is just a cemetery of memories. When the battle takes away all one's possessions, one will not be strong enough to reflect or become enlightened, but will only find an enemy to hate, destroy them, and destroy himself, otherwise, he will not be able to live. The desire for life and death is a philosophical proposition. I don't want to talk about it today... Ivan's thoughts should not be able to escape. I'm already in hell, and you all want to come, and I'm not finished with you!
In the middle part, Ivan imagined the scene of facing the enemy in the room. I don't know that he didn't actually do it later. When little boys were young, they liked to play war games, and even when they grew up, they would occasionally immerse themselves in it, otherwise those game companies would have to drink the Northwest Wind. The difference is the sense of reality on the spot. The reason why the game is a game is that death is not game over. We can fight another day. The real war is one or never. No more play. The tension, killing intent, and fear that Ivan showed in that "war game" made people feel real, but he couldn't help frowning.
Laota's films should pursue a poetic world, and they won't have too much blood and swords like some American films. Of course, they can't do that with the technology of the past. Therefore, during the bombing, I photographed the sun submerging into the dark clouds and the collapse of the cross, and the dead bodies of the fallen comrades were hung in the swamp, and no close-up was added. In the end, he suddenly turned into the fall of Berlin, and sang everywhere. The last thing Ivan left was a photo of him taken by the Nazis before the execution. The photo contained his hateful eyes.
The music of Huan Song is very familiar. It is the Katyusha that my fathers would sing. Win, win, so what? The children were already dead, or were executed, or killed by their families rather than pieces of jade, leaving pale corpses or a photo that made people unbearable to imagine the rows of gallows.
Do we still need to comfort ourselves with dreams?
War is a cruel game for adults. Although Zhang Ga, the little soldier, is funny, it is brainwashing to say that it is ugly. Childhood is precious and should not be used in this way. Most of the time, I hate war movies, a lot of them are one-sided and unbelievable. The same World War II theme, my country's anti-Japanese films are generally: Devils are really not human, they are all beasts who kill a thousand knives. The old beauty is that the Japanese are also human occasionally, but we are more human, ah~. The Japanese are generally, though...but we also have love, even though...in fact, we have reflected, right...well, you know...don't keep looking at me like that <-major general Sorry for the success.
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