Brilliant Life is not a sunny film. I understand that its central idea is to tell a person's frustration. It's not a comment either, just break it.
——It is for the inscription.
As a typical English illiterate patient, I don't quite understand why THE BEST OF YOUTH should be translated into a brilliant life. The strange thing is that after watching the movie, I feel that this translation is too appropriate, and it has truly achieved the highest level of faithfulness and elegance. I will not express similar feelings. Ms. Zhang Ailing said that the louse theory under the Chinese robe can be regarded as a Chinese commentary, which expresses an indescribable vague mood.
Just like all kinds of cheating, struggling and struggling, it must eventually turn into a question of position. The splendid life is huge and naturally aggressive, which makes the choice of perspective difficult. If the position is not resolved, all sighs will be unable to stand. For a long time, due to the confusion of one's own position, the fear of movies has increased. I was just dumbfounded and speechless. At this time the obstacle has been cleared.
Choosing a position means immediately letting go of other interpretation possibilities. Movies can create countless windows, but we can only choose one. This is the inherent sorrow of the audience. If you want to obey the atmosphere of the movie, there is no other way to reverse the situation than accept your fate. I see a brilliant life, and the place where I stand is Madio. In other words, I agree to understand life from his experience in the movie.
This is a bit risky. Because in the whole splendid life drama, Madio occupies a small proportion. Most of the time, the experience of his brother Nicholas is the focus of the camera. His love, marriage, children, revolution and tired of revolution, rebellion and no longer rebellion... In short, the mainstream and non-mainstream life of Nicholas The way occupies the main narrative of the movie. Even the younger sister was treated prominently in the later stage of the film.
Madio was overshadowed by the life process of other family members. This is not only the entire content of the position, but also the meaning of the position itself.
This may be unfair to others. But this is how I understand Brilliant Life, standing on a vision structure that may not be the whole picture. I support Mateo's position and obey the emotional dispatch based on this position, and Nicolas, mother, and sister are in fact supporting roles, no matter how long their roles are. I think, why doesn't a biased life include a full range of life styles?
After Madio left his family without saying goodbye, the brilliant life that gave him very limited clues to his growth. Even so, it can still be seen that he served in the military, retired to become a police officer, suppressed street sports, repeated failures, until he got into the book and became a unified context. It should be noted that the context summed up in this way is really messy, and in the movie, it is shocked by the lives of other members of the family. It's fragments, if you don't mind, you can't piece it together. From my standpoint, I think this is the interpretation of the theme of a brilliant life.
The main film technique of Brilliant Life is comparison, for example, comparing Madio's intermittent life fragments with Nicolas's substantial experience, comparing his loneliness with the joy of his family when Madio is away, and Nicolas's revolutionary woman's moral superiority. Madio's police actions. Sometimes this contrast—or rather neglect—to the point where it is unbearable. But Director Mark insisted on his philosophy, and others had no other way. They watched Nikolai and the clues that emerged from him blindly expand and become the main body of the movie.
This is my darkest view of the splendid life, that is: Director Mark will obliterate Madio from the very beginning. Not only does Mateo have to resist the depressing life pattern in the film form, he also has to endure the murder of director Mark, which is similar to revenge. And the latter kind of killing was something he couldn't resist. I don't believe how splendid a brilliant life is; I am willing to complain more about this non-objectivity if it is unobjective.
Madio is an angry young man. His strong physique and role-playing as a tool of national violence make him a person who often suffers from irritability. Obviously, his feelings are rarely known, and he also recognizes this, so he later gave up his love partner who actively sought reconciliation and became a loyal book reader. He tried to manage his emotions so as to make the crowded situation less stressful.
His attitude towards the family is mixed with complicated experiences. In the scene where he heard the news of his father's death and rushed home to worship, Madio broke the calm image he gave to the audience for the first time and completely lost his temper. The oppression of patriarchy was taken away by death, but Madio did not feel relieved. A kind of restrained personality cannot be liberated by the disappearance of external forces. I think this is the starting point of the tragedy of Madio's life, if you agree that this is a tragedy.
Compared with the evolutionary life history of other family members, Madio was out of the sight of his mother until his death. He is not married, and there is no woman who can make him feel at ease. He can indulge his desires on a rainstorm night, but instinctively escape the agreement of a suitor, which makes the onlookers feel meaningless and sigh. Why can't you live like a normal person? You see, even Nicholas, who was keen on the barricade revolution, became a doctor. Is there any demon that is more presumptuous than human nature and makes Madio more isolated and helpless?
Human nature is actually abnormal enough, but it is still no match for magical reality. People are destined to die, but death is a mystery and does not exist. We are on the road to survival. If death has basic emotions and six desires, then it will not be much different from life. Mateo learns to die while surviving, and all the details given to him by a brilliant life are trivial, just to lead him to the balcony and see the sky for the last time.
In order to strengthen the historical sense of the film, and to tell the story of the growth of a family, especially a pair of brothers, more convincingly, the director of Mark added Italian democratic movement materials in the film. One of the consequences of this is that Madio’s life conflicts have been magnified. Director Mark tied these conflicts to Madio’s uniform and made them a burden to him. It became the weapon and evidence that Director Mark insisted on murdering Madio. .
In accordance with the general logical series of reasoning, Madio, as a still pure, inflexible, self-enclosed character, and the model of human nature that this character can refer to, falls into a trap in the history, context, and the conspiracy of Director Mark. The rout of some people is doomed long ago. This is not so much due to the careful deployment of the murderers. Rather, it is self-destruction in a personal way. I don’t believe in inducing this hypocritical concept, and I don’t want to add the slightest tribute to the perpetrators that makes them arrogant.
Mateo was never a preacher. He consciously stayed away from the rhetoric of evolution. He made me without hesitation to reject the rhetoric that people are dying.
Mateo's relatives lead a splendid life, and he has become the most favored candidate by the shadows. While avoiding him deliberately in all family scenes, they are inextricably linked with him. These connections must make a choice to go to Madio, such as when he gets a wanted order for his sister-in-law and is ordered to kill him. It was his unwillingness to follow the optional instructions that made Madio where he is today. The choice means that he has to fight against his solidified life habits, and it is to make waves on the ground. It is difficult for us to truly understand the ability of choice to harm a person, so we are puzzled by Madio's suicide, thinking that what he could do is not what he could do.
Mateo supported the entire splendid life plan with a very small movie weight. His impulse was punished by loneliness. His fear of feelings continued his blood relationship. His hatred of family made the film's warmth. He rejected Accepting the destined arrangement in the form, he used silent books to commemorate the bonsai that was bound to bloom, he cancelled himself and allowed himself to exist, and he used the paleness behind him to write down the void. On the surface, he unconditionally accepted Mark's conspiracy theory, and he let go of the negative influence on the edge of the plot. Perhaps he has always been insightful to Mark's intentions?
Death in a brilliant life has no funeral, no blood, no symbols that we usually recognize, such as corpses, black and white, flying pigeon scenes, or silence after a fight. Director Mark’s handling of death, specifically, the arrangement of the plot of Madio’s suicide is very mature, very direct, and very unromantic. It just turned over and disappeared from the edge of the balcony, as if hiding the door. There is no camera switching, no lines, all verbs, no dramatic disguise, hate whitewashing, so alive that it breaks my heart. Madio just disappeared. This kind of leaving without saying goodbye is enough to pierce people's hearts. The blood is not gushing out, but dripping out.
The fable of a brilliant life comes to an abrupt end here. I was desperate before I was confused. People are a burden to this world, nothing is fake.
After Madio left, the room he rented was quiet and peaceful, and the TV and the books placed everywhere were relatively speechless. The use of this empty lens will inevitably become literary, including the howling of the mother in the background. At this point, I think the movie should not end, but I also think there is no better ending. However, Director Mark still did not let go of any power of interpretation. The post-Madio era began. The blood of the latter stayed on an island where the sun was always white, and traces of this blood relationship were buried in the portrait of Madio. In photography.
At the end of the movie, nearly one-sixth of the space was actually used to tell the story of Madio's son, which was mixed with some memories. In my opinion, this part is not a supplement and continuation of Madio’s post-mortem film, but an independent chapter. It’s just that because the plot of death comes before us, this part is a new life after death, just like a child is The implied meaning of the turning point of adult hope. If it is simply regarded as a component of the link between the previous and the next, it is likely to be really simple and rude, after all, it is not the case.
It has nothing to do with endless life, but it has nothing to do with the cycle of death. The part of the child is director Mark's remedy for Madio's previously neglected film status, and it is a tribute with repentance. They can be considered side by side with Madio's life, so that he can take into account the lush years of his life, provide more and clearer information, and bring them into the construction of Madio's life style, and play a role independently. Therefore, Madio's son is Madio himself, which does not mean that the frustrated life can be relieved, just repeating: so life has not been defeated. This is not a distinction between pessimistic and optimistic perspectives, but a fact that will not be divided by observational perspectives.
Mateo's life can be imitated but cannot be recreated. We all pretend that we will not die, pretend that we know death well and despise it. Those in the movie allude to the reality around us, but because of our cowardice and concession, we gain a sense of pride that cannot be copied. Madio’s bravery lies in the fact that when death is only falsely talked about by us, he chooses it as the way of life.
2009-3-2
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