A good movie doesn't matter. Spoiler: It records true deeds and tells the story of Austrian Franz being imprisoned and mutilated because he did not want to be loyal to Hitler.
What caught my attention was why the director used a large number of wide-angle lenses to shoot, and why he used a very unusual format to express the theme of the film. There is a certain experience in watching the movie. The space is stretched by the wide-angle lens, and it looks a little distorted, and the screen is extremely long and narrow due to the camera frame. The overall viewing effect is very horizontal and the vertical sense is particularly lacking. It seems depressing. But it still does not affect the composition and the presentation of the scenery. Many scenes are very beautiful and almost dreamy, while others are very virtuous. The tone and light and shadow blending give a deep and solemn feeling.
It is destined to be repressive and distorted: under a power regime, a person who lives a normal life will not fail to feel the unusual pressure around him. Then there is a sense of tearing, and the unwillingness to be loyal to the commander-in-chief is in conflict with the irreversible enlistment under tyranny.
As a result, the Franz family was first excluded, scorned, and threatened by the villagers. They yelled at Franz's wife: You are guilty, you have the crime of betraying the family and the village! Then I was admonished by religious priests or priests: Learn from the blacksmith... Anvils last longer than hammers. Later, I received a call-up letter from the Empire. This time, Franz and his wife reluctantly parted and went to the front line, but when they lined up, they refused to take an oath and were detained in a cell.
After that, the speed of the film's narration was as smooth as the beginning, and it showed another persecution within the empire. Prison, violence, trial, persuasion, death penalty.
After retiring from the battlefield, Franz re-examined and reflected on the war fantasies of their great commander. He sprouted his personal will and rejected the empire's call again in the Austrian mountains. The already monolithic fascist will machine began to impose cruel punishment on such people. This is an inevitable measure of a blind government. It cannot tolerate life that does not have its own will to disrupt its internal order. For those who just want to live a normal life and do not want to be loyal to a war full of killings and madness, it is punished with treason—not evil but culpable.
Franz asked: "Who has the right to put a man who knows the truth to death?" And he answered: "It is conscience that makes us such cowards." Fortunately, his wife always understands and supports. Such a woman faced the same harm outside the imperial prison. The villagers’ anger, rejection, and exclusion forced her to leave the village and live in Salzburg for a period of time.
The dream-like atmosphere of the whole movie (I knew it was the stream of consciousness technique after reading the reviews), as well as the sense of consternation (montage technique) caused by the sudden flashback and transition of the picture, formed a highly recognizable style. I think Terrence’s first film gave me the baptism of beauty and thinking. This is the so-called master.
The film is nearly three hours long and requires enough energy to watch it. At this special moment, I need to recommend it to friends: Baidu Cloud Download https://pan.baidu.com/s/1DDEYAuhyVgi5HYQvxJCHPg Password: sq5y
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