I have been watching Kieslowski recently, and his first impression of me was delicate. He can delve into the emotional depths of each character and dig out universal themes from those seemingly conceptualized characters.
As far as "Blue" is concerned, "Blue" is so delicate in terms of script, light and shadow, and sound. Every line of Julie is not nonsense, and every sentence points to her miss for her husband, her despair for love and the future, and her own loneliness. The blue of the blockbuster film is the shadow of her husband and the pressure of feelings, and the symphony that suddenly blacks out in the dialogue is a dialogue, a psychological dialogue—she still hasn’t Get rid of the shadow of her husband's death, so that the music he composed still occupies her soul. In the end, only by grasping the voice in her heart, turning her husband's music into her own movement, and firmly grasping it, can she achieve her inner salvation and get rid of the invisible suppression of emotions. (So the role of sound here is narrative, a second voice similar to counterpoint, dialogue with the protagonist, rather than simple contrast) The same is true of "Two Life Flowers", which always presents a pale green hue, melancholy, Fantasy, revealing secrets. The two Veronicas realized "psychic" in the blending of sound and picture. They came from different destinies, one in Poland and the other in France, but in the same world and different spaces, their souls cross time and space and communicate with each other. . The voice recorded by the tape recorder is exactly the same as the voice of the life that the second Veronica will experience in the future. It indicates her life and also implies a certain destiny. After reading it, I can’t help but feel that the master’s work needs to be turned out from time to time to experience it in detail. Each frame of the film contains a lot of details, and every time you watch it, there is always something special that moves you.
And "Love Short Film", I think it's the best. There is no nonsense, no sentimentality, everything points to the theme of love, in other words, what it tells is the love of modern people, the love of those Kafka-style little people. Tomac's telescope seemed to be a mirror image of desire. He imagined Magda at the end of the telescope as a holy goddess in his heart, and when she saw the goddess having sex with one man after another, he would masturbate (he knew this Shameful) will also angrily hammer his hand at the closet. Before actual contact with Magda, Tomac's voyeuristic behavior was entirely his own pure secret love. Said that this kind of voyeurism is pure and may cause discomfort to many people, but Tomac has been silently empathizing with Magda from beginning to end. When Magda felt lonely and was crying, he was timid to take the initiative to contact her, so he had to adopt a fatalistic empathy method, using a knife to poke back and forth between his fingers, gradually accelerating, and finally hurting himself. There is a contrast here: red and white. These two colors can be said to verify the similarities and differences between the two. Magda knocked over the milk when she cried, and Tomac licked the blood when he bleeds. Both are manifestations of loneliness, but one is secular and the other is ideal. The whiteness of milk is the uncomfortable loneliness of Magda's involvement in the world, and the redness of blood is the loneliness of love that deeply loves an ideal goddess but is unable to comfort her. Red can be seen in the movie, such as the scene of a two-person showdown, which resembles a voyeur. The red object is completely obstructed by nearly half of the frame; such as the scene where Magda and Tomac talk with their backs to the audience. , The two stood in the corridor of Magda’s house, facing a red windowpane with a hole in the middle, like a confessional in a church. This is quite similar to a picture of confession, but the seemingly private conversation between the two who are about to come together is actually the beginning of the disillusionment of ideals. After Tomac really came into contact with Magda, he actually found out that he didn't want to do anything. When the two were in the same room, Tomac's premature ejaculation deepened the disillusionment of this ideal and the fragmentation of the mirror image. He discovered her secularization, and found that she was treating his pure love in the way he was used to dealing with men. This made him suddenly see reality and despair. If you look at it from a macro perspective, these two people are actually two typical modern people: one is social and secular; the other is personal and idealistic; the other is like Magdalene, seemingly devoted to desire. In fact, he is very gentle and longs for love; one is like Jesus, with sincere, kind, and absolute love to love an unattainable projection.
Suicide by cutting the wrist is indeed abnormal from the perspective of an ordinary person. How can such a young man have no so-called "masculinity" at all? Tomac's "weakness" is not accidental. On the one hand, it is his abandoned family experience; on the other hand, it is his sensitive nature. His voyeuristic behavior will make people feel abnormal. If we only look at his voyeuristic aspect, we will think that he is a dirty, nasty person. But are people really such a simple label? Can one characterize him with just one behavior? In the face of desire, people are so complicated! His behavior is indeed deformed, but this cannot deny the sincerity he holds for the feelings in the fantasy. While watching the movie, Tomac reminded me of Duke Myshkin in "Idiot". Such a Christ-like figure can transcend gender and race. Tomac is a typical modern person's love. This character is very conceptual, but I believe that its nature exists in the heart of every modern person, and it has nothing to do with gender, identity, or race. This is especially true in today's low desire society. If you combine Kieslowski's religious beliefs, you will find that this pure character treats emotions as sincere as Jesus. He is very similar to those who fell in love in Dostoyevsky’s youth novels: Javushkin, Vasya, underground people...They are all extremely deformed little characters, but they are always yearning in their hearts. Ideal and holiness.
But the image of Magda, I believe she is more common and typical. The "grandma" in the film (there is often such an old man in Kijeslovsky's films, they are bystanders, they are wise men) said that girls seem to be free and casual, kissing men casually, in fact, they Prefer gentle men. Grandma understands Magda best, she has never been angry with this woman who hurt her "adopted son" from beginning to end. Only in the middle of the night did Magda cry desperately. Facing the desire of flowing water, she plunged into this reality, did not refuse, and was slowly assimilated by the secular wave-or we used a very old Marxist Words-alienation. This should be a portrayal of many people in the city. The two men mentioned a young man inadvertently when they were talking in the cafe. He never came back later. Both the voyeur and the voyeur left a deep impression on the young man. It is this unintentional dialogue that may reveal an unforgettable past. Magda once had love, but once two people get it, it will deteriorate sooner or later over time. This is really the most wonderful paradox between men and women, and this paradox also applies to Tomac and Magda: when you discover the true face of the person you love, you will find that you love only yourself. What you love is the mirror image you imagined yourself, not the entity you love in reality. Of course, there may be special cases for this paradox, but I think that even if it is a special case, it may be just a kind of active acceptance and peace of mind.
People are very lonely. I believe that the pious Kieslovsky thinks so too. His concept of loneliness is so conservative. After all, he uses fatalistic colored glasses to look at human nature. Therefore, the emotions in his lens, whether family or individual, whether love or affection, are full of sadness. Is there anyone in life who does not secretly despair? It's just that we don't peer into the truth of a person like Tomac. At least I need the truth of this sadness. Sometimes it is more shameful to whitewash the truth than to ignore it.
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