I believe that no one will agree with the contrived appearance of "you must hunt for classics, and talk with masters." This non-style work by Laota once again proves: anyone can not play with similar styles from the beginning, it is the only way to establish their own status and the basic skills of good image modeling.
Unrealistic, "I" starts with a dream and ends with hope. Compared with the large-scale reality latitude, only a few unrealistic scenes are the essence of the film. The opening shot rises from Ivan's head to the sky along the tree trunk, and the tail moves with Ivan's rushing into the sea. The former is soothing and open, while the latter is full of rhythm. Such dreams are all under the bright sunlight on the location, with a mother and playmates, and a sense of happiness is self-evident. In addition, the conjecture in the barracks was directed at Ivan's heart. Memories and horror fantasies are shaking the camera, impressionism and the hard light under the dark all make people understand how fierce the war is in Ivan's heart. I can’t help feeling pity for the neurotic trauma Ivan caused in childhood.
Reality, on the contrary, breaks out of the beauty of the illusion, and immediately enters the eyeball is the dim and terrifying years of war. Whether it is barracks, caves, trenches and water forests, the environment itself has its own dark atmosphere. The only scene showing the sun was obscured by the soot and the crooked cross of the battle, ironic. We always see some irregular composition. It can be seen that the director does not approve of the existence of the real world subjectively. He uses the oblique Ivan and the shadow over the subject to illustrate the reversal and disillusionment of reality. (Still photo) Ivan is pointed at the center of the ruined wooden slat sword, and the curved and extended exposed steel bars are used as the foreground to increase the atmosphere of horror. The irregular panning schedule in the scene where I learned how Ivan died at the end makes people feel uneasy. In the barracks where I watched the first few scenes, besides the candlestick on the table as the active light source, the pseudo-bottom light behind the kettle has a terrifying and mysterious effect on the faces of the characters. The picture is also reasonable. As mentioned earlier, Ivan used this light directly in the imaginary battle scene, and the non-reality does not require a lot of rationality. Everything is for mutual contrast between reality and non-reality, which has a strong contrast effect. And this effect is not only in the shape of the film, Ivan’s subjective shot of performing the final task, looking down at the reflection of the water forest, juggling on the sparkling water surface under the sun. The nurses danced in the birch forest, and the Russian soldiers were hung on the opposite bank by the enemy. All these editing methods illustrate the director's contrasting ideas. Of course, this is the image as a commonly used conceptual framework, which serves the picture, serves the narrative, and acts on the subject. This is also the rule of the old tower's debut, but if people who are familiar with the overall direction of the film appreciate his stylized tricks, this film is even more rare.
Imagery. Tarkovsky is a true film poet, yes. Poetry, to put it bluntly, is just a name, but its essence still needs to be filled with images. Compared with the films after the tower, the imagery is not filled but directly expresses the abstract content, gradually becoming his way of language. It was a film on the technical level, created to the level of mutual integration. At this time, we should only look at the essence of the film. As far as "Homesickness" is concerned, the author has not yet been able to understand the interpretation of some of the images, only waiting for a moment when we grow older. However, if we analyze the visual characteristics of "Homesickness", we can only say that this is a helpless move to find the next best thing. The modeling analysis of "Yi" is possible. The reason why Tarkovsky found his own language in a short time is that he is proficient in conventional narratives.
The poetry of "Ivan's Childhood" has not yet formed, but the setting characteristics of the image can be easily captured. Stove, appeared many times in the film. Once it was an empty camera push, and once Ivan was ready to go in the background. After watching the full movie, I can understand that Ivan’s heart is a blazing fire. This fire replaced his innocence. In other words, it came from war and hatred and gave him unrelenting courage until he died in battle. The rooster is not only our China's self-meditated rooster, but many countries use the image of the rooster to represent the highest power. In this film, the rooster standing on a wooden stake obviously means that national honor is above all else, but I really cannot agree with this. Excited import number. The old man, who has suffered from the suffering of war and his nervousness, is holding a rooster. Under the powerful state power, these grassroots can only learn about it. The birch forest appears in the love scene of the film. The beautiful nurse is like a hundred soldiers in the straight white birch forest, just like in a real scene. But love at this time is also impossible. The dead bell, like our trumpet, is the catalyst of war. The sound of mourning resounded with palpitations, which made people have to think about the suffering of war. German records and prints appeared in the film at the same time. I admired German music and painting art, but it was also this nation that launched a tragic war, and the irony was evident. The imagery of "Iraq" is more than that, but also hope to exchange and learn.
Finally, I have to mention what the film keeps in people's hearts. Ivan’s death is certainly tragic, but this is the first level. The emotion that I can’t calm down is the “introspection” emphasized by the film. Take a look at the Chinese Gazi, Wang Erxiao, the irresistible hero in my childhood. Their image is okay, but when they came to the hands of Chinese filmmakers, they produced a grand battle of soldiers and the people, and a national anti-Japanese war propaganda film. Compared with the values of the old tower, we are more insignificant? That spirit of introspection is universal. Putting aside the nation and the standpoint and directly pointing to the war, this fully reflects his scope of vision, and I have to praise it.
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