Inviolata, pronounced "Inviolata", means "inviolable". But this land is not proud of isolation, but suffers from it. The film begins with darkness. Invioleta villagers can only use the scarce light bulbs in turn. The men follow the old custom and sing for love, but when they get married, they immediately announce that the couple will leave the village. Towards the end, the villagers had already integrated into the modern life of the big city and were still too poor to use light bulbs. The first and last shots of turning on the light bulbs show that there is still no light to drive away their darkness. Villagers were tricked into becoming debt-bearing tenant farmers on sweaty land, and the seemingly reliable modern civilization did not provide shelter after a scalpel-long helicopter shot overhead. They were kicked out of the church, and they dreamed of returning to the village in the music they chased, and they knew in their hearts that even the land never belonged to them.
Under various changes, the boy Lazaro did not grow old.
After all, he's not in the orbit of the world, and he's out of the crowd because he's always being used: can't drink his last sip, gets kicked out at a wedding to put the chickens back in the pen, works for someone else, gets locked in the fence, has limited mobility His grandmother carried it back and forth, and was at the mercy of everyone in the work... He seemed to be only a tool for others, not participating in life as a person. Even spending time with the noble young master Doncretti was at the request of the latter. Absent from labor in the village. He bridges the rift between contradictions and acts as a stepping stone, and the suffering passed on by layers of exploitation chains falls on his shoulders: "I exploit these villagers, and they exploit this poor fool." "Maybe he does not exploit Anyone." Doncretti understands him, but in the forged kidnapping on the grounds of rebelling against his mother, he makes Lazaro the "kidnapper" who accompanies and cares for his partner while griefing for those anxiously looking for it. Doncretti fights lies with lies, Lazaro wants to bridge everything, and silence and high fever are the confusion of contradictions. When he recovered from his illness and set off to find Doncreti, the village of Invioleta was exposed to the modern eyes of the search and rescue team. Ironically, the eyes of the lie-busting team arrived to search and rescue the son of the culprit, the Countess. . At the juncture between the old and the new, Lazaro looked at the sky and fell from the edge of the cliff, as if it was the intention of the gods, so that he was not bound by any rules and became a fish that slipped through the net of modern civilization. Lazaro, who has no identity, still Being out of the world and refusing to come. That's why he retains those things that have passed away, those things that have been eliminated by the times: youthful looks, memories of plants and ancient music, and most importantly - pure trust.
Lazaro's relationship with Doncretti is the film's attempt to answer the questions it poses. Doncretti understands his mother's lies and the hierarchical rules of exploitation, and also sees Lazaro's nature, but in the "extortion letter" under the banner of rebellion, he dared not cut his hand, the blood is Lazaro flow for him. The significance lies not only in Doncretti's conscious use of Lazaro, but also in the knight's oath that came from his mouth, which only Lazaro remembers and always fulfills. Lazaro, whose background is unknown, has become a "half-brother" in Doncreti. "We look alike" is a wild talk, but Lazaro marked this friendship and kinship with blood. In the ravine, Doncreti said, "Who said this is just a ditch? It's obviously very similar to the moon." Truly a confidant. Until the two reunited many years later, Doncreti used a frying pan to pretend the moon was slowly rising, and Lazaro still learned how to howl with him, just like in those days. "They are responding to us." But this is no longer a mountain village to guard against wild wolves. Where can there be wolves in the city? The camera turned down, and it was the little girl who ran into the house imitating the howl of a wolf, and other "responses" could be imagined, but they were just as joking as Doncretti.
But what Lazaro saw was the real moon, and what he heard was the real wolf howling. These images, which have lost their soil in modern times, are like the old ballads played again in the slums of the city. They live in him, maybe they have never been only in him. In his eyes, it was like this "half-brother" bloodline, which only existed in his bloodline, and Doncreti only provided the image and text of the breeding of faith. When receiving Doncreti's invitation, Antonia seemed to have foreseen the truth, and she had clear enough mental vision to recognize Lazaro's holiness and Doncreti's nothingness. This pair of brothers who are false and true, have diametrically opposed responses to the hypocrisy and cruelty of the world: Doncreti returns with complete suspicion and lies, Lazaro returns with complete honesty and trust, and the former is desperate against the law of the jungle. Irony, but it was regarded as a consistent belief by Lazaro. Doncretti fooling others was a gesture of self-preservation protest, but Lazaro was willing to be fooled again and again. When the villagers of Invioletta happily bought desserts to visit Doncreti, they found that the son of the old nobleman was even more broken than himself, and the invitation was just one of his countless lies. In the old lie, the sacrifices of the villagers to maintain a decent life for the Countess are visible, while in the modern lie, the villagers who have been reduced to thieves and the sons of bankrupt nobles are equally miserable, exploiting them and profiting from them. Who is it?
"Blame the bank!" Isn't that another lie from Doncretti? Or is it the truth that he once again speaks with a nihilistic attitude? He knows countless truths: the deception of the Countess, the downfall of the family and the nature of Lazaro. Knowing that his resistance was futile, he fooled everything, even Lazaro's trust. The last big deception is just the ultimate version of the countless times before. He once said to Lazaro, "You lied to me", and then turned back and said "I lied to you". Lazaro still believes infinitely and does not Nothingness is body armor. Lazaro and the villagers returned from their failed invitations, and the music from the church flew in. He stood still for a while, walked under a tree, stroked the grass, and shed tears. Why is Lazaro crying? There are countless plausible answers: grief for being deceived, grief for the disappointed Invioleta villagers, even disillusionment with past oaths. Perhaps it was the nostalgia for vegetation, a wonderful mixture of sadness and gratitude—happiness. At the end of the day, doesn't this music also sound like Doncretti yelling good night at the window, like a wolf howling in the distance, hearing him and responding to him makes him happy? We never know if Lazzaro experienced a moment of struggle like Don Quixote, the famous idealistic harlequin who briefly forgot his imaginary love Dulcinea when he heard the woman singing outside the window, and finally He closed the window and refused to shake his love. But no matter whether this tear has the slightest hesitation in the moment of regret, consideration and decision, at the end of the film, Lazaro goes to the bank.
While Doncretti's tricks at the bank are feigned feints and frivolities that fool everything, Lazaro's plea to the bank to return his friend's lost property is out of genuine brotherhood. Doncretti's rebellious attitude was defiant, and Lazaro didn't know why he was resisting, and only asked for answers from himself. The villagers called the names of the two people for completely opposite purposes: they called "Tankreti" to find this young man who ran away; they called "Lazaro" because he worked hard and refused to accept anyone who came. The well-educated Doncretti, citing the legend of the knights, is not without resemblance to his pompous mother: he does not believe in what he preaches to others, and the mother's religion and the son's rebellion are empty shells. Years later, the villagers of Invioleta still pin their hopes on her son as they did when they respected the Countess. Only Antonia realizes that Doncretti is an empty promise, someone at the bottom of the exploitation chain who is used like a servant. The name "Lazaro" is the sacredness that responds to every request. The Countess once said that it is impossible for him not to exploit anyone, because under the rule of slavery and slavery, every slave aspires to be a master, and every slave seeks a slave for himself. Some people said in the post-screening talk that Lazaro was just always unconsciously submissive, as if to say: he was just a poor slave. Can a slave be happy? Giving to slaves comes from orders rather than voluntariness. Only those who give voluntarily can enjoy the meaning of giving. Lazaro can only be so happy when he gives voluntarily. A person who is willing to give is precisely the least likely to be a slave. What a terrible blindfold our thinking is limited by: Does giving necessarily come from slavery? - and love for people.
In a seemingly surreal plot, the banker Lazaro's slingshot was mistaken for a gun, and the crowd pushed and beat him. Its essence is the distilled reality that the film repeatedly points out in the plot and in the story Antonia tells: the hurt people do to Lazaro. The story says that when a man is thrown into a lion's den, the lions will not eat him, and people will even torture him; a weak hungry wolf smells the good man's scent, so he will not eat him. Wolf negotiated. The two stories are similar and different. The similarity is that man shows greater cruelty and selfishness than beasts. Cruelty is vague. These are the two readings of Lazaro's experience: as a victim, or as a saint. Did the people around Lazaro deliberately torture him? They are just pure-hearted people who suffer and suffer. Although "transferring" the suffering sounds terrible, it is actually not far from the act of asking a saint to negotiate with a wolf. Everyone is governed by the law, and even Antonia has to use the kindness of others in order to make a living. When they are stretched, they use everything they can use, and Lazaro does not set limits on their own efforts and commitments. Doncretti knew the value of his quality, and joked and fooled him. Antonia knelt down to Lazaro, and could not avoid using his innocent face in order to deceive the buyer. Is this evil? But out of selfishness and self-preservation, like people in a bank out of fear and anger. Who hurts for Lazaro? —The long-ago wolf, came to his bleeding face. This beast once recognized him, and was not willing to hurt him even when hungry, this precious protection brought him back to life and gave people a second chance to cherish him, but when someone asked him again to "negotiate with the wolf" - "Bank "It's the modern wolf - he went anyway, and people have finally done him damage that even a wolf would not bear to inflict.
The camera stops at the scene where the security guard is testing his pulse, and his eyes surrounded by long eyelashes are indifferent. We don't know whether Lazaro is dead or alive. The wolf paced beside his head, as if sighing, and then it left him and took to the streets, running through the traffic.
Yes, we are just simple-hearted, suffering people. But you see, the hungry wolf that recognizes the smell of a good man, it still shuttles through the streets, inspecting the faces of each of us.
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