Emile Kusturica wrote in "Where am I in History": My graduation work "Guernica" is not different from "Amakode", but there is an invisible gap between them. bridge. All ideas travel freely on this bridge, from one bank of the river to the other, erasing the difference in the way people experience the world-whether in the mountains of Bosnia or on the coast of the Mediterranean Sea. My "Guernica" follows the rules of "Amakode"-this rule is: to photograph the human beings in this world, the human face cannot be separated from the environment in which it is located.
Here in Kusturica, everything in "Amakode" is the person and the environment in which the person lives. For Federico Fellini, the director of "Amacord", "Amacord" is his life's nostalgia, his long colorful, bizarre and desireful spring dream. As a semi-autobiographical work, "Amacord" always has a sense of light-hearted comedy. If you have seen the obscure "Eight and a Half", you can clearly feel the interest in "Amakode."
Fellini must have preferred "Amacorde" because it is a story about his hometown of Rimini.
Rimini, a gentle, passionate and even a bit sexy Italian town. Under Fellini’s lens, the squares, streets, cinemas, theaters, harbours, villages, and schools in the town have become a fixed frame in history. Tag of. Uncovering these labels is like revealing the secret of Fellini's life experience. When the vivid characters appeared, the interesting panorama of the "Ukiyo-e" was clearly revealed.
After watching "Amacord", it was like having a dream, a dream full of metaphors and falsehood. The teenagers crowded in the crowd, watching a big ship sailing through the harbour, Fellini used the camera to record the cheering crowd. Suddenly, he seemed to be back in a state of madness. I can’t explain it with precise words. That sudden feeling. Only Fellini saw the boringness, vainness, and death hiding behind this madness.
As a result, the teenagers who watched the big ship leave were finally lost in the fog, and then I heard Fellini's rant: The fog is so big, where are you going?
Unlike European directors who follow traditional narratives, many of Fellini's works use "disordered" narrative methods. It is difficult for us to capture the complete storyline from his films. The work "Amacord" filmed in 1973 can be said to be a masterpiece of Fellini's film art. Whether it is from the perspective of film narrative or from the perspective of lens language, you can feel the vividness of this film The exploratory characteristics of
"Amacord" is a film that blends fictional and non-fictional content. Director Fellini uses an unconventional narrative method to tell his life. In many introductions about "Amakode", there are the words "autobiographical" works. From a deeper perspective, the film still discusses homesickness, Fellini's personal sadness and sentimentality.
Fellini and Rinimi: Those people, those things.
I think there must be an extremely complex emotion in "Amacord". These emotions are full and ready to be expressed, so we can see those people and those things recorded in the movie. The film starts from the daily scenes, the spring breeze entrains the flying catkins to blow away the winter cold. In a warm spring, the life scenes in the small town of Rini are gradually presented, and the characters also appear one after another.
A hawker in the small town whispered, telling us why people are so interested in flying flies, because "puffball" represents spring. Immediately afterwards, the goddess "Gradiska" appeared in the small town. She was the thought of Fellini's boyhood, with a trace of sentimental lust. Then came the annual bonfire party, gathering all the residents of the town...Inadvertently, Fellini showed us his hometown and the people on that land.
Fellini once said that the movie must be made like a Picasso sculpture, the story must be broken into small pieces, and then they must be put together again according to our whim. In "Amakode", Fellini did it. When he was alive, a reporter asked him why he told his friends four different versions of first love stories. Fellini asked back, why not, she deserves more versions.
Similar "story" runs through his life. We can find all kinds of memories in his movies, but these memories are hard to distinguish between true and false. Some people say that he is a liar, he does not explain, even laughs at himself, and named his autobiography "I am a liar". Hoda wrote in "Muslim's Funeral": The fact itself is already very clear and no further explanation is needed; only lies can be preached desperately, lest others will not believe it. Fellini seems to be a little proud of his "lie", because there are his willful fantasies and unfulfilled dreams.
After the characters appear, the story follows. Fellini showed us a different kind of interpersonal relationship in the traditional sense, the funny relationship between the teacher and the student, the ambiguous relationship between the lunatic Vopina and the man in "Amacorde", the construction site The relationship between the migrant worker and the foreman is like a joke. Next, Fellini's camera came to his family life. The quarrel between father and mother, the relationship between the three generations of old and young, and the occasional quarrels and quarrels, everything is so real. Especially when the "mother" passed away, the father's silence became even more bleak.
Perhaps, in Fellini's view, Rimini is the epitome of this world, symbolizing his entire life. The protagonist of the film is Dita. The whole film takes Dita's boyhood as a clue. Fellini never shy away from desire, especially the desire of his boyhood. This desire drives the teenager to maturity with irresistible fanaticism. Other adults are obviously more indulged in religion and politics. Fellini once described his youth in this way: adolescence is to me what fascism is to history.
Returning to history, Fellini's memories of his boyhood are full of irony. If he puts his past in historical fragments, the truth is precisely the absurdity itself. Not all homesickness needs to go back to history to make sense. The people and things in the past are the meaning of homesickness. Fellini recorded the teenagers, youth, middle-aged and old in Rimini. These characters show the epitome of different stages of life, as well as the epitome of a city.
In the meticulous presentation of "Amacord", we must pursue the true and false in it. Fellini just pieced together and presented, using bit by bit to create a captivating homesickness.
Fictional and non-fictional: nostalgic motifs nowhere to be placed
Regarding the story of Fellini, we should start with Phu Quoc Theater. In 1922, Fellini, who was only two years old, was often taken to the theater by his mother. Before he understood "what is a movie", light and shadow had already opened his imagination. When he was a child, Fellini was thin, lonely, and often went alone, but he liked the circus and the clown. Real life can't make him interested, so he learned to observe different people, and then rely on painting and making dolls to release his imagination.
Having read Fellini's autobiography, he is happy to regard his life as a series of movies. Then, he believes that all life stories start from Phu Quoc Theater. Perhaps, in the eyes of many movie fans, Fellini is lucky. He has been associated with movies since he was a child, and then stays with them for a lifetime. If you only read a few words about Fellini, perhaps such an evaluation is pertinent.
However, when you enter his movie, you will find that the fictional and non-fiction in his film are actually homesickness that cannot be put, and this nostalgia is the creative motif of his film: at the age of 17, Ferry Ni left Rimini. From that moment on, he was pretty sure that he didn't want to come back again. Unfortunately, after all, he was not as free and easy as he thought.
The relationship between Fellini's father and mother is very embarrassing. His father wanders outside all the year round, and his mother is serious and rigid, and the depressing family atmosphere makes Fellini have a strong rebellious psychology during adolescence. At that time, before Fellini left, in the early days of the outbreak of World War II, Rimini's religious activities and the fascists everywhere made him make the decision to leave.
When he recalled the past in "Amakode", he eliminated all depression and unhappiness. The mother in "Amacord" is thin and simple, but she loves her family and loves her children. And his father is a lonely tyrant. He often quarreled with his mother, but he was still tender. When his mother died, his father also retreated into the shadow of the old days. The beginning of death means the growth of the young Tita, and an era will eventually end. The small town in the memory also drifts away with the death of his mother. After all, homesickness has become a vain imagination.
There are three meanings of homesickness in my concept. The first is personal emotion, which is the recollection of the homeland, the second is collectivized emotion, which is the recollection of the homeland, and the third is cultural homesickness, which is right. The remembrance of everything that has passed away. In "Amakode", all three exist. Different degrees of homesickness are woven into Fellini's dreams, where contradictions and extravagant hopes become eternal freezes.
"Amacord" is a semi-autobiographical work of Fellini, with a natural reminiscence of the homeland. At the same time, everything that happened in Rinimi is also the collective life of a previous generation. In the end, cultural homesickness is a kind of Thinking of anti-modernity, even if everything will disappear, "People will not look for homesickness. Homesickness will find us on the road full of memories. Unlike nightmares, homesickness is through the night and looking for dreamers in broad daylight. However, what it likes the most is dusk. At that time, the boiling daylight becomes exhausted and gives way to the tranquility of the night. At the moment when we relax our vigilance, nostalgia falls on us."
The coexistence of carnival and decline: carnival is the loneliness of a group of people
In Fellini’s films, I can always taste the entanglement of carnival and decline. In the lively "Amacord", I can still sensitively capture the loneliness of the town square as a homeless dormitory. When the father faced the loss of death, the goddess "Gradiska" longed for marriage and love. Perhaps sadness and joy were originally part of Fellini's aesthetics, but I also deliberately eliminated them.
Entering the small town of Rimini, we probably laughed, which is Fellini's ridicule of the past. And when the characters appeared one after another, the tragicomedy began to be staged. After the drama ended, the homesickness turned into a thick fog, blinding the eyes, leaving only a futile carnival. I can't recall the content of the whole movie, because the movie is too full, but I can think of the date between Gladys Kaza and the prince in the Grand Hotel, and think of the Muslim and his thirty wives. Absurd and interesting, it dispels the tragedy in Fellini's aesthetics.
In "Amacord", carnival and decline are Fellini's image philosophy. By disassembling these two nearly opposing emotions, we can find that Fellini's films need to be read and felt, and in At different levels of perception, the movie presents different mirror images.
Morality : From a moral point of view, "Amakode" is somewhat immoral, because Fellini never conceals lust and desire for lust when he was a teenager. However, it is certain that lust has two sides, one is fanatical and uncontrollable, and the other is declining and transferable. Just like Tita and other adults in the movie.
Abnormality : "Amakode" is not a film that follows the structure of continuity and transformation to tell the story, which is doomed to its own attributes-abnormality. When describing the various fascists, Fellini did not use serious tragic stories to complain, but became a kind of carnival, just like other beliefs when they bloom in a small town.
Pure: "Amacord" is a triumph of style versus content and aesthetics versus morality. This perception transcends morality and abnormality, but recognizes that images can become a pure expression, which is the most advanced Perception. At the same time, this perception also brings a more complex dimension of understanding. In this understanding, "Amacord" has completed its own eternity and greatness.
It is worth mentioning that after "Amacord", his films no longer have a stable attendance rate. In the early 1980s, due to the economic downturn in Italy, the support for films gradually declined, plus Rossellini and others. With the death of the directors one after another, the Italian film industry has entered a difficult stage. When the 72-year-old director Fellini saw that the movie city where he had been filming started auctioning props and costumes, he felt his aging and powerlessness for the first time.
"They took it apart and sold it, and I no longer have a market. Soon, we will go to the tomb together."
Fellini is not afraid of death. As early as attending his father's funeral, he learned of various medical history in the family and was mentally prepared. However, he was afraid of loneliness and forgotten. I am afraid that I am like the old father in "Amacord", after experiencing glory, he will die in the dark. Death means the end of the dream, it means that everything is concluded, including his "lie."
Perhaps he knew the final chapter of destiny from the beginning, so his films can never be as easy as they think they are. No matter how the audience interprets the ridicule, humor, and absurdity, the core is still loneliness. When "Amacord" ended, I remembered an excerpt: I have a lot of people who have left by our side, they just come and go, they are more or less stinging on my soul A little hole, but they are all lonely children. I can’t control that much. I think we can only sing for the lonely child, laugh for the lonely child, cry for the lonely child, and give the soul to the lonely child. Take a bath, go crazy for the lonely child, howl for the lonely child, and continue to be alone for the lonely child.
Movies with a sense of distance that once nourished my youth have now become a medium, connecting me and my youth. The initial stories came into my memory like prophecies one by one. I continued to disassemble, write, and analyze, and later discovered that this was just a joke by Fellini. Later, he walked into the sunset while I was still there. Since then, his movies have comforted my loneliness. I imagined that I had met him face to face, talked about his movies and his history, and then disappeared into the fog with him.
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