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There are two things that have always been important in my heart-tears and words. They are the foundation of life, more precious than hope, and more real than dreams.
Of course, it's not that we want to keep chattering and chattering. Tears that don’t bear emotions and words that don’t communicate are better digested as rubbish. Sometimes, this tear is invisible, it flows into the heart; words can also be silent, just symbols, what is the meaning of form?
After laying the groundwork for so long, I want to say a movie, the Brazilian film "Central Station", should be regarded as a road movie, I have also seen some road movies "The End of the Road", "Born Murderer", "Bonnie and Krishna" "Ryder", "Paris in Texas"...the styles are very different, but the reason why people go on the road often has the same motivation. I think that is lost and searched, exile and return. In this film, it is not only the loss of people in the face of trouble and suffering, but also a layer of "salvation". I think this sentence on the official website is very appropriate to summarize: One boy's search for his father, and one woman's search for her heart.
The structure of the story is not complicated, with the journey of one old and one young and emotional development as the main line. Clear and compact, without the slightest sense of procrastination. In the environment of Central Station, where there is a mixture of fish and dragons, and dirt and dirt, a sharp old woman who has been polished in the world of adults, a little boy who persistently finds father and happiness, an accident, a greed, two people From then on, his fate was linked together. The two poles of life-innocence and oldness, are led to an unknown end by a seemingly endless road. In this process, the two people went from suspicion and alert to closeness and trust, until they depended on each other and took pictures of each other. Their roles and lives also changed accordingly.
Along the way, the two people quarreled, separated and reunited, the noisy city, the withered countryside, and the vast land passing by the camera. We have to follow the camera through the crowd to find the protagonist. That sense of alienation is unique to documentaries. He is also a director who made a documentary, so we are fortunate to see the bustling crowds, religious ceremonies and the chaotic and poor lives of Brazilian civilians coming and going in the camera, and the stars, beauties, sunshine, beaches, and beaches in our minds. The colorful world filled with barbecues, carnivals, and samba dances is very different. Under the care of reality, we have seen a suffering nation.
In the "Bible", Jehovah told Moses' assistant Joshua: "My servant Moses is dead. Now you are going to get up and cross the Jordan River with all the people to the place I want to give to the Israelites." It was this prophet named Joshua who led the Israelites back to their homeland and rebuild their beautiful homeland. In this film, it is difficult for us to define who is the redeemer. Is Dora helping Joshua find a home, or religion helping the Brazilian people out of the sea of suffering? Or rather, the little boy named Joshua, with his inherent innocence, is playing the role of redeemer and protector. Leon and the little girl Matilda have the same work. Think of the scene in which Dora is snuggling in his arms. Compared with the traditional image in religion, it is not difficult to see that the director has not regarded religion as a way.
Just as the poster says: "The boy wants to find his father, the woman wants to find her homeland, and this country wants to find its home." The boy seeks his father, which is also to find his dream; the old woman seeks home, that is Looking for lost feelings; and the Brazilian people, after years of turmoil and poverty, silently look forward to getting out of suffering and rediscovering the journey to happiness; this country needs to find its roots.
I don’t want to interpret this film as a film praising the goodness of human nature, like many comments, because we see: the road to salvation is as hard as it is, and facing an unknown journey and a vague end, what do we have to rely on? Support the weakness of the heart? God? Faith? Is there really an end? What if you find it when you finally arrive? This is the dilemma of the two, and the reality seems to be insoluble. Remember clearly, Dora said, she once asked her father: "Do you recognize me? Will you always remember me?" But her father died later. Jesus once wrote home and said: "Wait for me, I will go home soon." Joshua also said: "One day he will be back." Dora finally agreed: "You are right. , One day he will come back. "Go home, what a comforting and warm word, but where is home? Jesus is also like a mystery in the film, and has never appeared from the beginning. So he became a totem about "home". The child is looking for the way home...but the way home is so long! When we saw Joshua learn about the loss of his father after he moved, we have to admit that believing that love and hope are also dangerous, you may be even more disappointed.
But we can see that in the end they found it, that is—tears and words, that is, the emotions and communication they carry. Anna finally confessed in the letter that Dora and his girlfriend have totally different views on love, Dora’s return of love during the journey and the quiet departure of the truck driver; and in the Central Station and later in the small county town, full of various moods and feelings. The expressions are to write letters to distant or dead relatives and gods...In so many love gains and losses, so many faces and expressions, everyone is losing something and looking for something.
At the end of the film, Dora learns from Joshua's brother that their parents are looking for each other, and it is her indifference that separates the lives of the two lovers. When she put the two lost letters together, she should have discovered that everyone is eager for "communication." She must have recalled setting up a writing stand in a small town, and when writing letters on behalf of others, the people in the town expressed their piety: "Go home", "I am the happiest man in the world", "God." Thank you for sending us this year’s rain and harvest."...They all have tears in their eyes and smiles. At the Grand Central Station, people told about crimes, lies, desires, and lost thoughts. It’s no wonder that she relied on her writing skills to control people’s right to speak with ease, even numbly mocking them, and then abandoning them. Behind the head.
In the last scene, we were relieved to see Dora wearing a skirt (which Joshua bought for her) on the bus, watching their pictures in the small town together with Joshua, she shed two lines Tears burst into an angelic smile. I believe no one can deny that this is the power of emotion.
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I didn’t write very well, I just talked about the topic roughly, in fact, my favorite is The warm, rugged, simple atmosphere, the objective style of the documentary, the performance of the little boy Oliveira, and the extremely pious belief and incomparably shocking power in the suffering of the people at the bottom, the kind of tolerance and happiness, in We have been neglected in this alienated world.
Intellectuals are racking their brains to find a way out, trying to save the soul of mankind by civilization, but they are still getting more and more confused. I value the more authentic emotional power, not hypocritical, let alone sensational, but very secular. Bred out of the interpersonal relationship.
The boy Joshua is by no means innocent. He has a kind of sophistication that came out on the streets of slums, but he is not annoying, he is a very instinctive self-defense; Dora is a person who is lost in the downtown, and has very hateful things. On the one hand, there is something very beautiful and tender in my heart. Human evil is a kind of weakness in the face of powerful materialization forces, so the real treasure is given up.
The glittering golden yellow and the finely shattered piano are also what I like about this movie
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