Intimidated by Kirovsky's reputation, the audience was told in advance to enter the "moral gravitational field" carefully, and its living room pattern would clearly emerge during continuous viewing. The so-called living room layout does not only refer to the senses, but almost every episode title will return to the low-cost housing community, the story space confined to the studio, and the close-up of the face that switches back and forth, creating a series of doors that enter the private life of the neighborhood. impression. And the strange thing is that these private stories have some possibility of being judged by the narrator. Even if you remove the "angel/devil" who shows a cold face every episode, you can feel that the narrator avoids some kind of emotion that is confused with the characters in the film. That is to say, while it deliberately avoids sympathy (too human), it demands sympathetic understanding from the audience. Your attention isn't entirely focused on the character's fate, but instead is directed toward some emotion that cannot be adequately explained in the character's relationship. (Let's put aside the director's calculus here for a moment.) How does it do this? Improperly associated with Kirowski's autobiography, his career in film was almost a continuation of a documentary, separated by a feature film. The TV movie genre adopted by The Ten Commandments just allowed more documentary elements to be used. When the film portrays scientists, doctors, painters, actors, flight attendants and other people from all walks of life in Warsaw, there is a kind of casual and non-expressive feature (which in turn becomes a means of smoothing out their differences in occupation, age, and personality). A "universal" filter overlaid on the mind of the reader. I haven't seen Kirovsky's documentary, and I can only describe speculation through his words. For example, in the third commandment, the close-up of the bug under the windowsill in the spring struggles along the spoon to produce a cup of spoiled liquid, so that a transitional shot is used in series The turning point in the plot of the heroine's husband coming back to life is a common technique he used from documentaries.
On the other hand, it is clear that by manipulating the end of the story, the narrator constantly fills in the core of the story to shape and change the psychological expectations of the audience. Think of it this way: If the love short film (Sixth Commandment) ends with the female protagonist rediscovering the expression on the male protagonist's appearance at the post office window, will it overturn the self-destructive impression of erotic desire left by the whole film? If the ending of the father-daughter love (the fourth commandment), the director indulged that letter to burn into ashes without leaving any words left, then was it a fluke of moral escape? The ethical deduction shown by Kirovsky largely relies on the imagination of the ending. Is it because the director is satisfied with just prompting: there is always an exogenous judgment dimension? But judging from the director's own account, that doesn't seem to be the case. He prefers to emphasize that the God of the Ten Commandments is the God of the Old Testament. Let’s look at the details in a murder short film (The Fifth Commandment): the director has hinted that the taxi driver before the murder may have the urge to have sex with a girl in the parking lot when he was waiting for a passenger. This is connected by a camera set up in the driver's seat of the taxi, with a slight elevation angle to shoot the girl with her toes on her toes, showing her two white legs under her skirt. But judging from the final ending (the director emphasized the lack of real communication between Polish people, so the boy's death sentence also shared the degeneration of social justice), the audience recalled the scene at the beginning, and they would be somewhat implied that the driver's death also It's not all a disaster, but such a secondary link in the moral logic of the whole film is forced to be realized through the lens. (If the camera is facing the girl's thigh, and closely follows the perspective of a boy who is looking for a murderer in the square, will the weight of conviction be tilted toward the side of social justice?)
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