Tarkovsky’s "Homesickness" filmed in Italy in 1982 is Tarkovsky’s most praised work. "Nostalgia" is Tarkovsky’s first film work abroad and also the first. A film work that was released without being censored by the Soviet authorities. In this film, Tarkovsky has achieved the culmination of the setting of emotional metaphors and the construction of emotional atmosphere. All his personal ideas, whether they are praised in the previous works, or restricted and restricted. The parts that have never been shown are maximized in Homesickness. The main plot of the film is not complicated. "Homesickness" tells a life experience and life experience of a Soviet poet Andrei Gorchakov (the same name as Tarkovsky) in Italy. The purpose of this Soviet poet's trip to Italy was to collect the biographical data of a Russian serf musician named Berezovsky in the 19th century (there is true in history), so that he could create opera scripts based on his life. This Russian musician also had the experience of living in Italy that year. He was sent to Florence by the serf owner to study. After his studies, he held several successful concerts, but later returned to Russia because he could not bear the "cold of a foreign land". In the end, he found himself depressed and committed suicide because of his humble status. The poet experienced Berezovsky’s life in a small town, but he accidentally met Dominic, a fool who had kept his family at home for 7 years because he believed in the end of the world, and now behaves insanely all day long. The poet refused to travel with Italy. The female translator’s expression of love, but to understand and experience Dominic’s incomprehensible belief in salvation. This belief penetrates deep into the inner world, even unable to be substituted into reality, but it is true and firm. Dominica firmly believes that if someone can walk through the local hot spring with a candle, and the candle is not extinguished, the world will be saved. But as a local "lunatic", Dominic had lost the right to enter the hot springs, so he gave a candle to Gorchakov, who understood him. The ending of the film is that Dominic set himself on fire after preaching in Rome for 3 days and 3 nights. And Gorchakov held a candle in the dry hot spring pool, cautiously, after several failures, finally put the candle on the stone wall at the end of the hot spring pool, but he fell forever due to a heart attack. Beside the swaying candlelight, he fell on a foreign land. The focus of the film's discussion is faith, which is the faith that can still be held in the heart even under external obstacles. Regardless of whether the belief is correct or not, a person with a belief is essentially different from a person without a belief. A person without a belief just spends the whole day in a meaningless panic, and belief gives a person's life a brilliance, maybe belief The content itself is meaningless, but the process of adhering to the faith gives direction and goals to life, so that one’s life has reasons and meanings to go on, and it is beyond knowing only the aimless and debauchery of the walking dead. Above, the so-called end of the world is not the destruction of the world, but the loss of spirit. Dominic used extreme self-immolation to propagate his warning predictions to make up for the incompleteness of life in this world and give the world a spiritual shock; Gorchakov made his empty and lost inner world enriched by sacrificing faith in others. Eight minutes, it was the last eight minutes that made the meaning of his life sublimated. All of this is based on the spiritual and ideological level, based on the core of a person’s essence, not on reality. Perhaps their deaths have no temporal significance, but for their hearts at the moment before death, their souls have been enriched. And sublimation. Another aspect of the film is the title. Gorchakov’s exploration of the musician’s life and his attention to Dominic are all about experiencing the lives of others as a “bystander”, while his personal inner world is It is emptiness. In this way, he pursued a life that satisfies his individual needs, so he left his hometown, and in the process he accepted Italy, but he could not forget his dream hometown, wife and children. In the conflict between morality and heart, foreign land and hometown, he fell into a spiritual crisis that he could not break away-this is the so-called "homesickness". As for "homesickness", a term that seems to have nothing to do with the plot, Tarkovsky defines it in the film not only to worry about leaving home, but to worry about hometown. Even if a person is in his hometown, when his inner desires for ideals, love, freedom, or other demands are hindered by the environment of his hometown, nostalgia arises. This kind of sorrow is a person's inner feeling under a pair of contradictions. On the one hand, it is the hindrance of the hometown to personal appeals. On the other hand, it is the sentiment of nostalgia for the hometown. Berezovsky was suppressed by class status in his hometown and was unable to display his skills; Gorchakov lived in an empty and perplexed life in the depressed and oppressive environment of his hometown; while our director Tarkovsky was affected in his hometown. Without exclusion and denial, artistic ideals cannot be realized. They all deeply love their homeland Russia, but they are also hindered and restricted by the reality of their hometown. Therefore, true homesickness is a choice, a choice that almost everyone has to face—compliance with personal ideals. Still stick to the feelings of hometown. Tarkovsky has a very abstract metaphor for the choice under nostalgia. Gorchakov passed away after making sacrifices for others, surpassing the homesickness by the sublimation of his own life and soul. The above, made up for the empty and confused heart due to sorrow; at the same time, two very realistic viewpoints and attitudes are also revealed in the film. After Berezovsky returned to his motherland under deep homesickness, he was ultimately unbearable for fate. Suicide; while Tarkovsky himself, when sorting through the materials that were made in this film, he gradually determined his choice. Between the longing for the land and relatives of his homeland and the pursuit of his personal mission and ideals, he chose In the end, he ended his life in unresolved sorrow. The theme of "Homesickness" is the sorrow in everyone’s heart. Under the emotional atmosphere created by Tarkovsky, the audience can realize the sorrows of the characters and think of their own sorrows, but this is not enough to make It became Tarkovsky's greatest work. The film takes the interpretation and thinking of this kind of sorrow on a deeper level, and rises to the exploration of the meaning of the value of life-in fact, every sorrow is a kind of belief. If a person is worried about the status quo, it means that he is still holding on to the desire to realize his ideals, a belief that breaks the shackles and wins inner liberation, then a person's life will not be lifeless, and a person's life will have to go on. The reason and motivation of the film is not to explore the nature of homesickness, nor is it a way to solve homesickness. It is how a person positions his life, what kind of life attitude he chooses, and examines under such hard-to-choose sorrows. And face your own heart. The way of expression in "Homesickness" is relatively obscure in Tarkovsky's works. A thousand viewers may have tens of thousands of feelings and understandings. I just extracted some of Tarkovsky himself. The characteristics of the theme and the commonality that the audience understands. It is quite difficult to comment on Tarkovsky's movies. There is no objective reference, and only subjective experience can be used to understand and delve into it. Therefore, the above comment will have a personal understanding of the fallacy, and only a little reference is enough. Maybe no one can solve the homesickness on his own when he is alive, but for Tarkovsky himself, it is not necessarily a bad thing to die with homesickness. Although Tarkovsky decided to never return to his motherland, he never doubted his attachment and love to the motherland. He incorporated his infinite love and selfless dedication to the motherland into the image of his work. The last gift for Russian mothers. He did not leave without doing anything. He used the two works of "Homesickness" and "Sacrifice" as the last paving stones on his film art path, opening up a new artistic field and spiritual realm for countless future generations. But in the end he was unbearable and committed suicide; and Tarkovsky himself, when sorting and browsing the filmed materials, gradually determined his choice. Between the longing for the land and relatives of his homeland and the pursuit of his personal mission and ideals, He chose the latter, and finally spent the rest of his life in an unresolved sorrow. The theme of "Homesickness" is the sorrow in everyone’s heart. Under the emotional atmosphere created by Tarkovsky, the audience can realize the sorrows of the characters and think of their own sorrows, but this is not enough to make It became Tarkovsky's greatest work. The film takes the interpretation and thinking of this kind of sorrow on a deeper level, and rises to the exploration of the meaning of the value of life-in fact, every sorrow is a kind of belief. If a person is worried about the status quo, it means that he is still holding on to the desire to realize his ideals, a belief that breaks the shackles and wins inner liberation, then a person's life will not be lifeless, and a person's life will have to go on. The reason and motivation of the film is not to explore the nature of homesickness, nor is it a way to solve homesickness. It is how a person positions his life, what kind of life attitude he chooses, and examines under such hard-to-choose sorrows. And face your own heart. The way of expression in "Homesickness" is relatively obscure in Tarkovsky's works. A thousand viewers may have tens of thousands of feelings and understandings. I just extracted some of Tarkovsky himself. The characteristics of the theme and the commonality that the audience understands. It is quite difficult to comment on Tarkovsky's movies. There is no objective reference, and only subjective experience can be used to understand and delve into it. Therefore, the above comment will have a personal understanding of the fallacy, and only a little reference is enough. Maybe no one can solve the homesickness on his own when he is alive, but for Tarkovsky himself, it is not necessarily a bad thing to die with homesickness. Although Tarkovsky decided to never return to his motherland, he never doubted his attachment and love to the motherland. He incorporated his infinite love and selfless dedication to the motherland into the image of his work. The last gift for Russian mothers. He did not leave without doing anything. He used the two works of "Homesickness" and "Sacrifice" as the last paving stones on his film art path, opening up a new artistic field and spiritual realm for countless future generations. But in the end he was unbearable and committed suicide; and Tarkovsky himself, when sorting and browsing the filmed materials, gradually determined his choice. Between the longing for the land and relatives of his homeland and the pursuit of his personal mission and ideals, He chose the latter, and finally spent the rest of his life in an unresolved sorrow. The theme of "Homesickness" is the sorrow in everyone’s heart. Under the emotional atmosphere created by Tarkovsky, the audience can realize the sorrows of the characters and think of their own sorrows, but this is not enough to make It became Tarkovsky's greatest work. The film takes the interpretation and thinking of this kind of sorrow on a deeper level, and rises to the exploration of the meaning of the value of life-in fact, every sorrow is a kind of belief. If a person is worried about the status quo, it means that he is still holding on to the desire to realize his ideals, a belief that breaks the shackles and wins inner liberation, then a person's life will not be lifeless, and a person's life will have to go on. The reason and motivation of the film is not to explore the nature of homesickness, nor is it a way to solve homesickness. It is how a person positions his life, what kind of life attitude he chooses, and examines under such hard-to-choose sorrows. And face your own heart. The way of expression in "Homesickness" is relatively obscure in Tarkovsky's works. A thousand viewers may have tens of thousands of feelings and understandings. I just extracted some of Tarkovsky himself. The characteristics of the theme and the commonality that the audience understands. It is quite difficult to comment on Tarkovsky's movies. There is no objective reference, and only subjective experience can be used to understand and delve into it. Therefore, the above comment will have a personal understanding of the fallacy, and only a little reference is enough. Maybe no one can solve the homesickness on his own when he is alive, but for Tarkovsky himself, it is not necessarily a bad thing to die with homesickness. Although Tarkovsky decided to never return to his motherland, he never doubted his attachment and love to the motherland. He incorporated his infinite love and selfless dedication to the motherland into the image of his work. The last gift for Russian mothers. He did not leave without doing anything. He used the two works of "Homesickness" and "Sacrifice" as the last paving stones on his film art path, opening up a new artistic field and spiritual realm for countless future generations. Under the emotional atmosphere created by Kowski, the audience actually realized the sorrow of the character, and also thought of their own sorrow, but this was not enough to make it the greatest work of Tarkovsky. The film takes the interpretation and thinking of this kind of sorrow on a deeper level, and rises to the exploration of the meaning of the value of life-in fact, every sorrow is a kind of belief. If a person is worried about the status quo, it means that he is still holding on to the desire to realize his ideals, a belief that breaks the shackles and wins inner liberation, then a person's life will not be lifeless, and a person's life will have to go on. The reason and motivation of the film is not to explore the nature of homesickness, nor is it a way to solve homesickness. It is how a person positions his life, what kind of life attitude he chooses, and examines under such hard-to-choose sorrows. And face your own heart. The way of expression in "Homesickness" is relatively obscure in Tarkovsky's works. A thousand viewers may have tens of thousands of feelings and understandings. I just extracted some of Tarkovsky himself. The characteristics of the theme and the commonality that the audience understands. It is quite difficult to comment on Tarkovsky's movies. There is no objective reference, and only subjective experience can be used to understand and delve into it. Therefore, the above comment will have a personal understanding of the fallacy, and only a little reference is enough. Maybe no one can solve the homesickness on his own when he is alive, but for Tarkovsky himself, it is not necessarily a bad thing to die with homesickness. Although Tarkovsky decided to never return to his motherland, he never doubted his attachment and love to the motherland. He incorporated his infinite love and selfless dedication to the motherland into the image of his work. The last gift for Russian mothers. He did not leave without doing anything. He used the two works of "Homesickness" and "Sacrifice" as the last paving stones on his film art path, opening up a new artistic field and spiritual realm for countless future generations. Under the emotional atmosphere created by Kowski, the audience actually realized the sorrow of the character, and also thought of their own sorrow, but this was not enough to make it the greatest work of Tarkovsky. The film takes the interpretation and thinking of this kind of sorrow on a deeper level, and rises to the exploration of the meaning of the value of life-in fact, every sorrow is a kind of belief. If a person is worried about the status quo, it means that he is still holding on to the desire to realize his ideals, a belief that breaks the shackles and wins inner liberation, then a person's life will not be lifeless, and a person's life will have to go on. The reason and motivation of the film is not to explore the nature of homesickness, nor is it a way to solve homesickness. It is how a person positions his life, what kind of life attitude he chooses, and examines under such hard-to-choose sorrows. And face your own heart. The way of expression in "Homesickness" is relatively obscure in Tarkovsky's works. A thousand viewers may have tens of thousands of feelings and understandings. I just extracted some of Tarkovsky himself. The characteristics of the theme and the commonality that the audience understands. It is quite difficult to comment on Tarkovsky's movies. There is no objective reference, and only subjective experience can be used to understand and delve into it. Therefore, the above comment will have a personal understanding of the fallacy, and only a little reference is enough. Maybe no one can solve the homesickness on his own when he is alive, but for Tarkovsky himself, it is not necessarily a bad thing to die with homesickness. Although Tarkovsky decided to never return to his motherland, he never doubted his attachment and love to the motherland. He incorporated his infinite love and selfless dedication to the motherland into the image of his work. The last gift for Russian mothers. He did not leave without doing anything. He used the two works of "Homesickness" and "Sacrifice" as the last paving stones on his film art path, opening up a new artistic field and spiritual realm for countless future generations. What kind of life attitude to choose, and look at and face your own heart. The way of expression in "Homesickness" is relatively obscure in Tarkovsky's works. A thousand viewers may have tens of thousands of feelings and understandings. I just extracted some of Tarkovsky himself. The characteristics of the theme and the commonality that the audience understands. It is quite difficult to comment on Tarkovsky's movies. There is no objective reference, and only subjective experience can be used to understand and delve into it. Therefore, the above comment will have a personal understanding of the fallacy, and only a little reference is enough. Maybe no one can solve the homesickness on his own when he is alive, but for Tarkovsky himself, it is not necessarily a bad thing to die with homesickness. Although Tarkovsky decided to never return to his motherland, he never doubted his attachment and love to the motherland. He incorporated his infinite love and selfless dedication to the motherland into the image of his work. The last gift for Russian mothers. He did not leave without doing anything. He used the two works of "Homesickness" and "Sacrifice" as the last paving stones on his film art path, opening up a new artistic field and spiritual realm for countless future generations. What kind of life attitude to choose, and look at and face your own heart. The way of expression in "Homesickness" is relatively obscure in Tarkovsky's works. A thousand viewers may have tens of thousands of feelings and understandings. I just extracted some of Tarkovsky himself. The characteristics of the theme and the commonality that the audience understands. It is quite difficult to comment on Tarkovsky's movies. There is no objective reference, and only subjective experience can be used to understand and delve into it. Therefore, the above comment will have a personal understanding of the fallacy, and only a little reference is enough. Maybe no one can solve the homesickness on his own when he is alive, but for Tarkovsky himself, it is not necessarily a bad thing to die with homesickness. Although Tarkovsky decided to never return to his motherland, he never doubted his attachment and love to the motherland. He incorporated his infinite love and selfless dedication to the motherland into the image of his work. The last gift for Russian mothers. He did not leave without doing anything. He used the two works of "Homesickness" and "Sacrifice" as the last paving stones on his film art path, opening up a new artistic field and spiritual realm for countless future generations.
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