In the history of Italian cinema, corpses of new movie genres were discarded everywhere. They broke out of the sky at a certain period, prospered briefly, and then quickly dissipated. Only after the new realism, there were two types of movies in Italy for a long time, and they became their unique types and styles in film history.
One category is "Macaroni Westerns" represented by Sergio Leone. Between 1964 and 1975, Italians produced nearly 400 "Macaroni Westerns", among which Leone's "Macaroni Westerns" "The Red Dead Trilogy" achieves the pinnacle, and also achieved the heroic image of Clint Eastwood riding an iron horse on the Spanish wasteland.
The other category is Italian horror films that are more violent and more sensual. Since most of the material comes from crime and pornographic novels with yellow covers at that time, it is also called "Giallo Film" , which is the most cult film type in Italy. The Italian "Leader Movies" appeared in the 1960s and 1970s, with crime, mystery, thriller, horror, pornography, and homicide as themes. They tried their best to gory, erotic, and violent, and had a tendency to depict the process of death realistically.
Sergio Leone’s good friend Dario Aquido is the director who made the "Leading Movies" famous. In 1977, he shot the famous "Wind Winds", which raised the horror film to extreme style. High degree of chemistry and artistry. The unbridled fanatical light and shadow in the film, the surreal colors of the stage play, and the goblin band’s demonic electronic soundtrack made Aquido qualified to stand in the 70s world horror movie power-John Carpenter, Among the teams of David Cronenberg, Brian de Palma, and David Lynch...
Mania and the "Futurist" Movement
After World War II, Italy's economic recovery quickly reached its peak and began to fall back. Beginning in 1960, Italy has experienced an economic crisis that spanned 20 years. Unemployment rates have soared and social conflicts have emerged one after another. In 1970, the ultra-left terrorist organization "Red Brigade" was established, and many attacks and killings broke out. Even the former prime minister Aldo Moreau was also kidnapped and torn apart, and the public was in panic.
In the global context, the intensification of the Vietnam War, the various feminist movements, sexual liberation movements, and hippie movements that broke out in Europe and the United States have all had a huge impact on traditional ethics. Under these numerous social and cultural backgrounds, horror films have been used to tap the dark side of people’s hearts. The film genre gained the most nutritious cultural soil and came into being.
Another time node similar to the complicated international and domestic environment in the 1960s and 1970s was the era when the literary and artistic genre of "Futurism" was born in Italy in the early 20th century . This genre appeared before World War I, initially just a literary and poetic proposition. During the war, Futurism radiated to the fields of music, painting, architecture, film, etc., spread to Europe, and flourished for 20 years. To this day, we have rarely mentioned this genre, and even confuse it with science fiction. However, according to a literary critic of the year: “Today all art forms breathe futuristic air.”
From various signs, "The Wind and Wind" represents Dario Aquido's tribute to futurism.
At the beginning, we saw a young girl emerge from a weird pink light in the ghostly and harsh electronic music of the goblin band.
On a stormy night, the heroine Susie Bonnie took a taxi through the deserted forest. And when Susie finally reached her destination, a blood-colored castle in Baroque style, a young girl with a panic expression suddenly broke out of the castle. She was yelling at someone inside the door, and then regardless of wind and rain, Hidden into the darkness.
Dario Aquido showed the audience a high degree of mystery in just 7 minutes . Everything is unknown, everything is hidden behind the appearance, everyone is suspicious, and exposed to this vicious malice is a young girl who is as ignorant as the audience.
As the narrative turns, we see the young girl running out of the castle. She appears in a hotel with a strange decoration.
In this hotel room, the girl was brutally murdered. A hairy hand stabbed the girl’s delicate skin with one knife after another. The murderer even used extremely paradoxical means to remove the color on the hotel’s ceiling. The glass shattered, causing the girl's body to hang down from the roof. All the light and shadow, colors and lines were very formal and expressive, and the horror atmosphere permeated the movie space with a geometric sense.
The walls of the hotel lobby are painted with strange geometric figures, which are not the same as any decoration style we are familiar with. All circles are not perfect circles, or even regular ellipses;
There is no equilateral triangle, nor regular rhombus. All the corners are like sharp edges. With the unspeakable combination of red and yellow, the whole space is very aggressive and uncomfortable. a feeling of.
This style of modeling is derived from the radical tradition of futuristic painting and architecture .
In February 1909, the Italian poet Marinetti published an article "The Creation and Declaration of Futurism" in the Le Figaro, marking the birth of this sport. In the "Manifesto", Marinetti completely denied the value of tradition and attacked history and politics with a radically broken attitude. "Literature has always praised stagnant thoughts, obsessive feelings and deep sleeps from ancient times to the present. We praise aggressive sports, anxious insomnia, running pace, somersaults, slaps and fists." They even think, "In the end, art cannot be violent, cruel, and evil."
In futuristic painting, concrete images are completely abandoned. The pursuit of speed makes futuristic painters enthusiastically use distorted lines and high-contrast colors, abandoning all harmonious and symmetrical composition, the purpose is to challenge people's vision .
Futurist painting prefers sharp triangles. Later in 1916 Marinetti and several artists published the "Futurist Film Manifesto", suggesting that the film should be a "symphony of colors and lines". In 1917, Italian avant-garde artist Anton Giulio Bragaglia made a 35-minute short film "Thais" in accordance with the idea of futurism, which made extensive use of triangles.
The woman in the sharp figure seems to be facing the threat of being penetrated by something, hiding the fear of losing her virginity. Everything is unstable, but the woman is unaware of this danger...
"Wind Wind" turned this fear into reality. The girl's head was hit by the murderer against the glass window, and the sharp fragments left many scars on her face;
A sharp knife pierced the girl’s beating heart;
Falling on the stained glass on the zenith, the girl's body was passing through the middle of a triangular glass, and then hung in the air.
A piece of broken glass falling from the sky split the face of another girl on the ground in two.
Sharp, sharp, sharp, killing people is not sharp knives, glass shards, dog teeth, razors, in contrast, women always have round bodies, round faces, and round breasts, constantly in front of sharp objects. Escape, keep getting hurt...
From the standpoint of futuristic abstraction of the human body and geometrical movement, the storyline of killing and fleeing, killing and being killed in "Golden Wind" can actually be infinitely abstracted as triangles and circles in motion. The opposite relationship of the triangle-the triangle is always towards the center of the circle, which is offensive; while the circle is always rotating and hesitating...
Similar to Giacomo Balla's chaotic spiral shape in this painting, Aquido uses bundles of wire loops as a trap to trap people and make people unable to escape.
The invisible witch and the non-existent world
When the film enters the climax of the second half of the film, the light, shadow and color of the screen often enter the surreal without warning, feeling a fatal threat, and the school corridors passing by during the escape flashed with an incredible red light.
Illuminated behind the character, the source of green light cannot be judged.
Exaggerated contrast between warm and cold colors.
In fact, from the perspective of the story, the ending of "The Wind and Wind" is easily disappointing-everything is a ghost made by a dead but not stiff witch. The director found a 90-year-old prostitute on the streets of Rome to play the witch. When Susie finally found the culprit and planned to kill her, the witch made a small trick to make herself invisible.
"Invisibility" made me wonder about the authenticity of the existence of a witch as a big boss. In the middle of the film, the heroine Susie once turned to a psychiatrist. He told Susie that from the perspective of psychoanalysis, he is concerned about magic and mystery. The academic beliefs are actually part of mental illness.
What he meant was that all explanations of the mystification and witchcraft of the external world actually originated from the anxiety and fear in the human heart. From this point of view, the bloody castle, divided into three floors (the female dormitory), the middle (teaching area), and the lower (secret room), can actually be regarded as a manifestation of the human spiritual structure. At that time, the high-purity colors of red and sometimes blue also represented the ever-changing inner emotions.
The pioneer of Russian abstract art Kandinsky mentioned in his book "On the Spirit of Art" that the problem with realist painting is that there are too many details and too many distracting places, making the audience unable to understand. To the artist’s most core and most direct emotional change, he therefore abstracted the world in his eyes into lines and color blocks. Red used bright red, and blue was always dark blue. Each color corresponds to a different emotional feature, and passes certain The rhythm forms a combination. He called it a "visual symphony".
In David Lynch's works, images become a stage of fantasy. The "Futurist Manifesto" stated that the film should be regarded as the "unreal reconstruction" of human beings, the "drama of things"-let us try to look at this "Wind Winds" in this way, the only real thing in the whole film, There is only the horror that permeates the air, and the protagonist that runs through the film is not Susie or a witch, but the alternate abstract light and shadow, the strange geometric lines, and the whistling and screaming behind the image. music.
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