"The impure art of film history is indeed the "unity" of various arts, parasitic and unstable, but as the power of contemporary art, film lies precisely in the creation of ideas and the process of impurity of various ideas. time needed.”
The distant shore and the twilight, the meeting of the water and the sky, the fear of the pervasive plague... Love is a plague. The wandering, searching and meeting of scattered eyes are like the "passing" swaying in the water, the sentimentality of love, the purest creation in the ordinary, destined to be exchanged for the untouchable beauty and the sorrowful departure of the flesh.
The entire film is filled with participatory observation and recollection of decadence's party's destruction, its own pain and troubles, and the unavoidable and terrifying death of life. Narrative is abandoned, poetry emerges from the wandering sight’s constant search for pure beauty, Visconti’s autobiographical characters are presented in different states of anxiety, reflection, memory, sentimentality, and thought (“History dissolves in reality, society Dissolving in the individual”), and then nesting the common troubles belonging to the artist: artistic creation, aesthetic concept, annihilation of conscience, lack of inspiration, repressed sexuality and platonic love... This is the swing of reason and sense. The doomed mourning trip, even if there is a possibility of escape, in the end, he followed his instinct and chose to die for the untouchable beauty. The puppet-like mask disguises/camouflages, but in the end it melts under the distant viewing/gazing of beauty, the maniacal laughter of the Dionysian state at this time is also self-compassion, pity and indulgence. The "unreality" of art, the "illusoryness" of aesthetic redemption, all pursuits are mourned under a calm distant view.
"Visconti presents a visit to this idea, where nothing is said, nor any text, but the music opens the gap for it. The movement takes the novelty out of the language, and in the music and the place It is preserved on the shifting boundaries between the two. But music and place exchange values specific to each other in such a way that the music is counteracted by the suggestion of the painting, the stillness of the painting is dissolved by the music. This transmission is related to the Dissolution finally makes the process of the idea a reality." Mahler's Fifth Symphony and To Alice also participate in the construction of desire: to manipulate the structure, or to strengthen the state of "being stared at". The desire for love is transplanted—“the beautiful boy and the prostitute, the pure and the lascivious, two completely different images harmoniously juxtaposed under the framework of desire”.
From neo-realism to baroque decadence and nihilistic aestheticism... The first time I came into contact with Visconti, I chose to start from my twilight years, and I wanted to cry several times during the filming process. Poetry seems to have entered the heart, and images, as impure art, are naturally intertwined with the intertextuality of Mahler's symphonies. Badiou says that the movement of cinema comes from love, and there is an intimacy between love and the image - because love, like cinema, is the coming of miracles in existence, the establishment of a new synthesis in interruptions, the silence The situation is the art of the body. We enter the image from the words of love, from the physical encounter, from the inner tension. Image is a battle against the impure world, and the process of film history is also a process of struggle against the death of film, but love will not disappear, even if it is untouchable, it is constantly creating the possibility of encounter and visit.
"Dear earth is full of flowers in spring, the horizon is pale blue, and it never ends! Forever, forever..."
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