Movie | "The Tin Drum": an absurd original pplp based on history and reality? The art of sleeping , is still immersed in a depressing and gloomy atmosphere, and many scenes make people feel ugly and disgusting, but this does not affect its depth and the huge tension within the film. -------------------- Director Volker Schlöndorff always seems to be thinking about the interplay between "movie" and "novel" Because of the relationship, he put the works of many writers on the screen, such as the 1966 "Young Terles" from the novel of the same name by the Austrian writer Robert Muzier, and the 1975 "The Dishonored Katarina Bo" "Rum" comes from the novel of the same name by the German writer Heinrich Burr, and the 1984 "Reminiscences of the Past" comes from the famous French writer Marcel Proust's "Reminiscence of the Time Is Like Water"... The same "The Tin Drum" is also based on the novel of the same name by Günter Glass. The film is about Oscar (David Bennett), a child from a Danzig family. Bennent), on his third birthday, his mother gave him a tin drum, which Oscar loved so much and hung around his neck all day. Once, when Oscar was hiding under the table, he discovered the out-of-bounds behavior of his mother and her younger brother. He felt that the adult world was full of deceit and ugliness, so he chose to fall down the stairs and never grow up. From then on, his height was fixed at his three-year-old. level. He has always been regarded as an outlier, given toad soup by his companions, and has been fighting against the world with drumming and screaming. In the process of growing up, his experience was very absurd. His relatives died one after another, or he was tortured by inner guilt, or he became a sacrifice in historical confrontation, or he was killed because of the fear of homosexuality... In the end, Oscar was burying his father. When he was stoned into the grave by "his own son", the miraculous thing was that Oscar began to grow up again. -------------------- "The Tin Drum" has many "symbols", or archetypes (i.e. recurring images in the film), such as "drums", "Fish", "Skirt", "Dwarf". Oscar's drum symbolizes a kind of resistance. Whenever the adults want to take the drum away from Oscar, he will immediately beat the drum to show resistance. If the struggle is too fierce, he will shatter it with a terrifying scream. grass. This kind of resistance can be implied in many other places. When Oscar really witnessed the ugly behavior of his mother and uncle, he stood alone on the bell tower and shattered the glass of the holy church with his voice, as if expressing the great The superficiality and vainness of loyalty and redemption in the mouth; for example, when Oscar witnessed the Nazis launching a public rally, he ran the band's music with his own drums, and the appearance of "Blue Danube" made people feel ridiculous and funny. At the same time, Oscar's drum may also symbolize a kind of hope. When the Polish post office was captured by the Germans, Oscar's drum hanging on the high cabinet emitted a light that was incompatible with the surrounding environment. For example, when the mother sought the consolation of the priest in the church, Oscar's drum hung on the gods, so that it took on the religious meaning of "lost lamb". In the end, Oscar threw the drum to his grave, burying his only weapon against the world, a surrender to the world. Oscar is not many sober people in this absurd world, but he is tortured to the point of confusion. Sobriety is torment. To get rid of this torment is to save the absurd or choose to forget. Losing the drum is to choose to completely forget the memory before. At the end of the film, Oscar sits in a In the trolley, the expression is dull and at the mercy of others, giving people a huge tragedy. "Fish" is a representation of sex, and in Japanese culture, fish is equated with reproduction. Sex has a lot of meaning in this film , incest and homosexuality were all shown in three hours, and I had to sigh the screenwriter's ingenuity. This destruction of marginalized groups and female groups also highlights the film's reflection on "feminism and homosexuality studies". In a world dominated by patriarchal society, women symbolize the threat of castration because they do not have a penis. They either cannot create any meaning in the world, but can only be bearers of male meanings, just like Oscar's mother, because of this social meaning in their hearts shackles and tore violently. Children are always the signifiers that their mothers fantasize about possessing a phallus, but in "The Tin Drum", Oscar exists as a dwarf, making the signifiers of the mother's fantasies deformed and false. In the end, she found that there was no meaning to pursue in this world, and that she could only become the soft flesh of a man's body, so she chose to end her life, like a writhing eel in a rotten dock, dying tragically by the edge of a knife. The complex sexual relationship in "The Tin Drum" is reminiscent of "One Hundred Years of Solitude", which is equally absurd and magical. The image of "skirt" also appears many times. It is a symbol of femininity and also implies abnormal growth in the state of "fatherless". Oscar always likes to get under his grandmother's skirt to seek a kind of psychological comfort and shelter. When he came under the Eiffel Tower in Paris, he also thought of skirts. From the perspective of psychoanalysis, the absence of the father coincides with the Oedipus complex proposed by Freud, and the killing of the father and the marriage of the mother also corresponds to the incest in the film. In terms of Oscar's physiology, it is not only because of his "father" Bronski's long-term absence, but also because of the double physical and psychological softness of "Yang" as a symbol of Poland, Oscar has lost his "father" since childhood. "This authoritative role. It is precisely because of this fatherless state that Oscar's self-identification and definition are hindered, and his understanding of the relationship between ethics is unclear. Different flows and contamination, on the one hand, make him easy to compromise with temptation. The absence of a father seems to A curse plunged the entire family into a tragic vicious circle, creating contradictions and ridiculousness in the family. Similarly, this fatherless state can also be projected on the issue of the belonging of the small town "Danzig" to Germany and Poland. Its political name belongs to Poland, but its economy is attached to Germany; the residents of Danzig are composed of Germans, Poles, and Kasu whites. The residents are very chaotic and disordered in terms of psychological attachment, and they generally have a kind of self-identification deep in their hearts. anxiety. Regarding the "dwarf", Oscar became a dwarf when he was a child because he witnessed the relationship between his mother and his uncle. This is very similar to Freud's story of the growth of a baby. The child realizes the existence of patriarchy when he accidentally discovers his parents' sexual behavior. , also means castration, the repression of desire is very similar to the state in which a dwarf can no longer grow. As a dwarf, Oscar is detached from the normal adult society in terms of identity, and resists the castration of the society, but spiritually, he still finally gave up resistance. Midget status may be a symbol of castration and marginalization. ------------------ Although the film is uncomfortable, its filmic language handling is not excellent. ①For example, the impressive scene of Oscar's birth in the film reminds people of the last scene of Jiang Wen's "Devils Are Coming", which also heralds the beginning of the absurdity of the whole story. ②Mother realizes her destined destinies because of being forced to eat fish, lying on the bed to pray, which coincides with the picture of the Virgin praying on the wall, expressing the wish of redemption. At the same time, the impressive mirror here makes the composition become Ingeniously, using the rule of thirds, the scene frame is divided into three parts, one third of the people in the mirror, two thirds of men and women caught in the eroticism on the bed, to construct a double performance space of mirror and bed, this kind of oppressive performance. The composition also shows the audience the psychological state of the characters in the double space: Alfred's cowardly reaction after being green, Bronski's inner entanglement, and the mother's difficult choice between the Poles and the Germans. The director used a beautiful transition here to focus on Oscar's silhouette hidden in the cabinet, and Oscar silently listened to the cruel reality outside. ③After the nuns were shot to death picking oysters by the sea, the scene where their souls ascended hand in hand was absurd and embodies the cruelty of war, and also reflected the countless times of dispelling religion in the film. ④ The screaming scene is also impressive, reminding me of Munch's "The Scream". The film's somber music and dim light all create a terrifying atmosphere. ⑤ At the end of the film and at the beginning of the film, there is a scene where the grandmother burns haystacks in the wilderness, forming a closed loop like an iron house. Tragedy is reincarnating, and everything returns to nothingness. -------------------- This movie is adapted from a novel. Historically, novels and movies have been in a very ambiguous relationship. Literary works are expressed through language, and films are recorded through cameras. In literature, narrative language is used to describe personal feelings and experiences, but the camera is not very good at representing the human mind. So, while both literature and film use dialogue, the representation of images is more ambiguous and idiosyncratic.
The original work of "The Tin Drum" has a large time span, a long text, and a strong story. When such a novel is adapted into a movie, due to the limitation of the form, its storyline cannot be completely copied to the movie screen. Therefore, the adaptation process of the film is the process in which the director uses the framework of the novel to reshape the plot. There are parts that are faithful to the original work and parts that are transcendent. Obviously, the film captures the core content of the original book, which is to show the situation of the times and life through Oscar's life. In the original novel, the sense of the grotesque is an element of the work that always surrounds the reader in the novel. But in the movie, except for the two mentioned above, everything else is intentionally downplayed. Under the influence of Schlondorf's realistic style, his absorption of Grass's original style was very limited. "The Tin Drum" is not a simple plot film, it has a strong tendency to criticize and reflect as intended by the original work, so that the audience can feel the film's deep rational thinking, and see an exaggerated and ugly illusion through Oscar's eyes. the world. The original work of "The Tin Drum" uses first-person flashbacks to tell what Oscar saw and heard, and made a panoramic description of World War II. The film directly entered the memory of Oscar, changing the form of flashbacks, from 1899 year begins. Correspondingly, there are a lot of deletions in the second half. From the narrative perspective, the first-person narrative is basically preserved, which also determines the intertextuality of the narrator's basic attitude and personal inclination in the two texts. The film "The Tin Drum" cleverly handles and chooses the original text, and the film also greatly compresses the narrative at the beginning. Literature has an original meaning for movies, and film and television literature scripts based on literature are always called "the foundation of a play". And because of the strength, longevity and depth of literature, the relationship between the backwardness, modernity or even postmodernity of film is quite delicate, and some kind of "discourse power" struggle is inevitable. However, literature and film can achieve a win-win model. On the one hand, the literary world can boldly intervene in film, and on the other hand, filmmakers can in turn enhance literary accomplishment. In addition, the theoretical community should have more understanding of the new beauty, youth aesthetics, and public aesthetics that the current new power films are committed to or created. In any case, the film is still positioned as a mass culture, and there are many differences in the creation, production and reception and dissemination of literature as an elite culture, especially classic literature. For example, those "non-literary" and "super-literary" aesthetic innovations in film and television dramas, such as overhead, travel, virtual, gamification, and interaction, need to be understood more. Likewise, we have to expand the boundaries of literature. With such mutual harmony and tolerance, our side may usher in an era of common prosperity of literature and film. -------------------- "The Tin Drum" can bring us a lot about fiction and reality, assumptions and history, absurdity and truth .
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