In an Italian seaport town, the film begins with a grand carnival and ends with a lively wedding. The whole film is a carnival. Although the gray of Mussolini’s dictatorship and the shadow of death are interspersed in the middle, they are all fleeting, replaced by endless revelry, like the world of Bacchus. Women have huge surreal breasts and fat ass, men have extraordinary libido, boys are obsessed with pranks and sexual fantasies, everyone seems to have superhuman enthusiasm and energy, singing loudly, cursing loudly, Quarrel loudly, cheer loudly. I was actually drowsy in the frenetic atmosphere of this film. This cannot but explain how indifferent and lacking energy I am. The joy and excitement can only make me more tired.
Fellini, not my cup of tea.
This Italian loves everything that is lively and fat, "even at the expense of opening the shower curtain of civilization to tell everyone what carnival and sensuality are." After this movie, he used "Casanova" to pay tribute to the famous 18th-century Venetian hypersexual scientist who finally had sex with a robot to end his hopeless sexual desire (see here).
Together with Bergman and Tarkovsky, Fellini called the "Holy Trinity" of the world's modern art films, and created the highest peak that European art films cannot surpass so far. But I love Tarkovsky the most, Bergman, and Fellini again.
These three, I feel that it is an order that fell from the sky to the world. Tasman is basically a poet. His father writes poems with pen, and he writes poems with lens. I have hardly written Tasman's film reviews, because of such things as poetry, how do you analyze and deconstruct it? Even if you can reinterpret it with signs and symbols, it is destined to destroy the artistic conception and beauty. Tasmanian films belong to the category of aesthetics and transcendence, and cannot be explained by experience. I have never understood why students use vernacular to "translate" ancient texts in middle school?
Speaking of this, I remember that Murakami said in his essay that once I saw a diary written by a girl in a concentration camp and said that it was very painful to say that she was deprived of the right to go to school. He said that he didn't understand how some people enjoy learning. After all, it is such a place that smears all the personality and teaches things that are useless. I mean basic education. I feel the same. Too bosom friend. Since I was a kid, I hated going to school, hated classmates, hated teachers even more, hated what the school teaches, it's damn rubbish. Why is there a school system to cultivate suitable pillars for the country? To put it bluntly, isn't it just to make people into small screws and install them on the big machine of the country? How inhumane, the school has repeatedly reiterated that we must be willing to be a screw.
Pulling away.
Bergman, between the heavens and the earth, he also cares about the sufferings of the world, but he never gives up questioning God. His movies are constructed from a series of question marks, sometimes full of childishness and curiosity, but this can be analyzed and deconstructed after all. The difference between him and Ta's is that analyzing Ta's can make people feel very frustrated or even annoyed, while analyzing Bergman is very fulfilling.
Fellini, completely returned to the world, paid tribute to Libido and Carnival; like a child who had not grown up, lying on his mother's breast and refused to leave.
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