I found that Jia Zhangke, like Fellini, shared his love for circus-style performance. In fact, the circus-style performance itself is in the movie, as a part of the content: Fellini’s Rome has a series of poor performances in a small theater, and Jia Zhangke’s film also has this small theater troupe performance, which is very similar to Fellini. , It’s just that Fellini’s rhythm is faster, dizzying, and has a strong visual impact. Fellini's imagination is also more fantastic and detached, while Jia is more realistic. However, this circus-style film technique is quite similar: circus performances are just like this, one show comes up and one show goes down, there seems to be no logical relationship between them, just one after another. Unlike melodrama, melodrama is to create a climax from the development of the story, and then end it. This kind of circus-style film has to go down one climax after climax, making people continue to excite. Unfortunately, when some directors imitated Fellini, they didn't know the beauty, but piled up a bunch of shouts.
Rome was not built in a day, nor was it photographed in a day, nor could it be reviewed in a day. However, in these 119 minutes, Fellini quickly pushed Rome’s past and present, elegance and vulgarity, beauty and ugliness through a series of weird combinations and adhesions in front of you, because each scene has a strong visual impact. , And you feel that it is calm and uncomfortable. I wonder if Beijing in 2008 dragged thousands of years of history to the modern era. What kind of effect will it have at the opening ceremony of the Olympics?
Describing a real place does not necessarily just show its beauty and goodness. Sometimes it is necessary to show the truth of a place while showing its ugliness and vulgarity. Otherwise, it would appear to be a reality in a sterile environment, pure but lacking in vitality. Fellini’s movies are full of sweat, obesity, gluttony, vulgarity... For example, when Fellini was visiting a brothel when he was young, or eating scenes on the street, or the unprecedented chaos in the theater, you would think that the director was in Deliberately use people's aesthetic fatigue, and on the contrary put out the ugly flowers. I'm very surprised now, who wants to see these, but I can't help but want to continue. How did he do it?
Rome is a place with both the Pope and Armani. This is a religious sacred place as well as a fashion sacred place. Fellini unexpectedly put up a dream-like church fashion show, let the priests and mothers walk on the weird catwalk, and even the pope's costume. Because this kind of conception, as well as the details shown, have broken through all the boundaries of my imagination. In the exhibition, a person in the audience commented like a Greek theater choir: The world should follow the church, not the church. This comment brings people back to reality.
Rome is also a place full of history, but how do you naturally enter history? Fellini’s idea is very clever. In the film, a camera crew was shooting in Rome. The camera crew followed a construction team. The construction team’s huge drill drilled out a underground palace during the construction. The murals and carvings inside were beautiful. It's just the fresh air that quickly destroyed the mural. "Something has to be done!" said one of the crew members, but there was no way, nothing could be done. History is fading, and the motorcycle team that symbolizes modernity, in the last scene, rushed to the ruins of the Roman Coliseum, allowing the multitude of Roman time and space to be perfectly intertwined with the roar of motorcycles. At this time, it felt like it was not watching a movie, it was more like dreaming with eyes open.
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