In 1982, Tarkovsky went to Italy to shoot his sixth film, and at the same time decided that he would never return to his hometown of Russia.
When he named the movie "Homesickness" (also known as "Nostalgia"), no one would doubt that the ethnic complex behind it would penetrate the theme of the movie. "Homesickness" tells the life experience and life experience of a Soviet poet Gorchakov in Italy. The purpose of the Soviet poet's visit to Italy was to collect information on a Russian musician named Sasnovsky. This Russian musician also had the experience of living in Italy, but later was unable to endure the "cold of a foreign land". Back to Russia, but in the end found that he could not establish a foothold in the motherland, and committed suicide in depression.
Musicians, poets, film directors, the three protagonists in the double narrative all have the same experience of leaving their homes. The final result is: the musician committed suicide in Russia, the poet died of a heart attack in Italy, and our film director tower Kirkowski also left the Russian land to tell the story of life and faith in Italy called "Homesickness".
2.
The center of the candlelight film of faith can be summarized by "nostalgia", but the center may not be the deepest and most visceral thing. The thinking about faith, salvation, freedom, and life scattered by "nostalgia" is The center of gravity that Ta's painstakingly expresses.
Tasman once said: "Artists can be divided into two categories, one creates their own inner world, the other creates reality. I undoubtedly belong to the former..." The protagonist of the film, Gorchakov, is the spokesperson of faith in Tasman's heart. . Gorchakov met Dominico in Italy. Dominico once kept himself and his family in a house for seven years, so he was regarded as an unreasonable lunatic by the locals. They once chatted with teasing tone:
— -Many Minicos have firm beliefs.
--so what?
But Dominico's beliefs were understood by the poet Gorchakov. Dominico has a strong sense of salvation. He believes that the world has fallen and the end is coming, but ignorant people still live slutty lives without realizing it. Dominico believes that he has an unshirkable responsibility for the world. He 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", Dominico had lost the right to enter the hot springs, so he gave a candle to Gorchakov, who understood him.
After several efforts, Gorchakov successfully walked through the dry hot spring pool, and fell forever by the swaying candle due to a heart attack; at the same time, in Rome, Dominico was in a brilliant In the song "Ode to Joy", he set himself on fire, and he used his life to prove how different it is to have faith or not.
Dominico turned his life into a candle to save the world and burned it on a carnival feast for the world.
Beethoven's music is a full tribute to Tarkovsky.
3. The essence of the movie: The rhythm
"Nostalgia" uses a lot of long shots. The length of these shots reminds me of the Iranian director Abbas, but Tarkovsky’s shots are simple and fresher than Abbas’s. The style is obviously more beautiful. The swaying candlelights in the church, the misty countryside scenery in the twilight, the hot spring bathing people in the mist... Each stop-motion shot is like an oil painting, each long shot is like a poem, and the whole movie is like A beautiful lyrical prose.
But these metaphors of mine will definitely anger Tarkovsky. Because if the above metaphor is admitted, then film is actually recognized as a comprehensive art; and once the film is positioned as a comprehensive art, the film will lose its independent artistic style and its status as the "seventh art" Will be suspicious-this is something Tarkovsky would never want to see.
He is a firm critic of independent film art.
Tarkovsky opposed Eisenstein's use of montage to define the essence of film. In his opinion, a complete and mellow film actually existed during the shooting process. The director's task was to edit the original scenes that were messy and disorderly in the early stage-this is just a job of the director, not the essence of the film.
What is the essence of the movie? Ta's answer: It's rhythm. "Rhythm itself is the constitutive factor of the film, not the editing that most people think." Rhythm is not determined by editing. Even if a film is edited again, the internal time of the picture remains unchanged, so it cannot change its internal rhythm. Rhythm, "not the sequence of the rhythm between the segments: It was born because of the thrust of time in the picture.” In this way, time has become a key factor in a movie, and the inner time of the picture determines the appearance of the movie; and the work of making a movie is the inner work of the movie picture. Time manipulation, mastery and performance.
Here, Tarkovsky put forward his most famous slogan-
carving time!
4. Self and self-deception.
If the essence of movies really lies in time and rhythm, as Tarkovsky said, then the time, rhythm and rhythm of different movies should be different. It is precisely in this difference. In, the director’s personal style is revealed. As a result, we will not confuse Bergman with Hitchcock, Kurosawa and Pasolini, etc.
Tarkovsky's style is poetic, no matter how serious, profound, or even obscure his subject matter is. The picture of "Homesickness" is always beautiful, the rhythm is always soothing, and the time in the picture is long and long. It passes through reality and history, out of the lens, and meets people and God on the path of existence. It speaks the language of the Holy Spirit of doomsday and redemption. The Orthodox spirit is deeply concerned about and comforting human suffering, and the Russian nation’s recognition and sigh of the wandering nature of life are all poetically expressed in Tasman’s lens.
When Tasman faced redemption and sacrifice, not only the camera, but even the language could not reject poetry—like Gorchakov said in "Homesickness": "I am the candle, / Die in the feast, / After dawn Put away the tears of candles in a place." Such heartbreaking words are everywhere in "Homesickness",
But here, I had to sigh for the lack of words and words, and risked being raged by Tarkovsky, and once again likened his films to poems—the poems of dreams, the poems of life, the poems of faith. . This poem is pure, because the poet who made this poem is also pure. This purity is his principle as well as the principle of his film.
This purity limited him, made him, and finally made him qualified to look down upon those Hollywood-style entertainment films. He said that when a director wants to make money by making entertainment to make the movie of his dreams, it is a kind of deception, even a kind of self-deception. The end result is that he will never make the movie he wants to make. Because -
"No one who has ever betrayed his principles can maintain a pure relationship with life."
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