The first time I heard about the Tin Drum was in the first chapter of Wang Xiaobo's "The Silent Majority", he said: "In the Tin Drum, Güntegrass wrote a man who refused to grow up. Little Oscar discovered the world around him. It was too absurd, so he secretly resolved to be a child forever. Somewhere in the world, there was a force that fulfilled his determination, so he became a dwarf."
What caused Oscar's distortion and madness, keeping us under the control of a child who didn't want to grow up.
At the beginning of the film, under the vast field of view of the farmland, it tells about the encounter between the grandmother and an arsonist. With Oscar's narration, the arsonist escaped from the wooden board during the arrest a year later, and then inserted the virtual life of the grandfather after he escaped. Imagining the grandmother's fate of being abandoned, she realized it too.
The short shots of fragmented life segments constitute the picture of Oscar's life before his birth. The fish market scene reveals the harmonious coexistence of Oscar's parents and uncles, as well as the brief peaceful coexistence of the Poles, Germans and Kashube people before the war. At the same time, the fish all over the floor seemed to imply the mother's later resistance to the fish.
Under the narration of little Oscar, the sun is in Virgo, Neptune enters the tenth house, and Oscar is in a trance. The tenth house of Neptune may mean that Oscar has unrealistic fantasies about the world. The inverted picture at birth implies that the relationship between the characters is reversed, and Oscar is choosing and staring before others.
Throughout the film, Schlondorff used Oscar's narration to construct paragraphs composed of the disintegration of the world in Oscar's eyes, and these paragraphs formed the tone of the tin drum's magical and bizarre story.
One of the stories comes directly from Oscar's confrontation with what he sees as a subjective world. Resisting the immorality of being an adult through self-mutilation, refusing to grow up, three screams of resistance, one against the assimilation function of the school institution, the second against the authority of the hospital institution, and the third against the mother and uncle when incest.
The second story is the metaphor behind the respective identities of father, mother and uncle. During Oscar's first drumstick, the trio treat Oscar differently. The father (Germany) is violent and impatient, the mother (Kashube coaxes him with chocolate, the uncle (Poland) promises to buy a new one, Oscar refuses all the time, and learns to scream.
Oscar rarely speaks, and is basically silent. He always stares, stares straight, beat drums and screams. The director asks the viewer to see the mother's affair from his perspective. In his eyes, it is the discordant part of adults, the presentation of desire. It can be said that in the first half of the film, he is the director on the moral level, and it is also the foreshadowing of the war.
The circus part was very interesting. The performance of the cup music attracted Oscar. The parents exchanged eyes, as if they saw Oscar's future. Oscar was also recognized in the eyes of his parents. The talk scene with B is so magical, it was Oscar's first speech in the film without the narration, revealing that this way of refusing to grow up is not only useful for Oscar, but many people have embarked on this road, this talk It also brings attribution to Oscar. The epilogue "We're too small to miss out" makes this conversation even more clear.
don't worry... not finished
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