Recently I was watching "What's a Movie", Bazin commented on it as follows, I will make an excerpt for the reference of the audience
Mysteries make us uneasy, and the face of a child can arouse a contradictory desire. The reason why we like the face of a child is because it has its own characteristics and is particularly childish. This is the reason why Mick Ronnie is so successful and the American child star has so many freckles. The era of Shirley Temple is over long ago. It is an inappropriate extension of the aesthetics of drama, literature and painting. In particular, the children in the movie should no longer resemble porcelain dolls, nor should they resemble the childhood Jesus in the Renaissance era. But, on the other hand, we hope that there is no sense of mystery. We can't help but expect these faces to reflect the emotions we are familiar with, because these emotions are our emotions. We hope to find features that evoke empathy from their facial expressions. We hope that when the children express the emotions that adults are used to, the audience will be intoxicated and sad. Therefore, when gazing at the child, we are looking for ourselves, together with the innocence, clumsiness, and childishness that we have already lost. The performance is tear-jerking, but don’t we also cry for ourselves? With a few exceptions (such as "Zero Conduct", in that film, the irony is very strong), children's films are essentially about our children Make a fuss on the vague interest. Come to think of it, the childhood life shown in children's films seems to be understandable and affectionate by us, and adulthood is a major feature of children's films. "Europe One Place" has not deviated from the norm. Radwani used convention extremely cleverly. I can't blame him for bewitching people, because I accept this ingenious approach. Even though I can't help crying like everyone else, but I know very well that the scene of a 10-year-old kid who was shot and killed when playing "Marseille" with the accordion is just so touching because of the concept of heroism similar to our adults. On the contrary, due to insignificant reasons (stole a large loaf of bread and a slice of butter prepared for ten starving children), the children strangling the driver with a piece of iron wire vinegar seemed inexplicable and unreasonable. Unexpectedly, it belongs to the mystery of children's psychology that is difficult to grasp. However, as a whole, This film strives to make use of our compassion for children’s understandable and expressive emotions. Rossellini's profound originality lies in deliberately avoiding arousing any tender sympathy, and will never fall into an adulthood. He describes children as they are eleven or twelve years old, and it seems relatively easy to reveal the mystery of children’s inner world through plots and performances, and it has even become a routine. However, our understanding of this child's thoughts and feelings is not always based on directly visible facial signs, or even through his actions, because we only understand him by verification and speculation. Of course, the Nazi school teacher’s words were the direct cause of killing a patient who could not take care of himself ("The weak must leave room for the strong to survive"), but when the child poured the poison into the teacup, we were in his face. Only a focused and serious look can be seen on the site. We cannot conclude from this that the child is indifferent and vicious, nor that he will feel pain. A teacher said a few words in front of him. These words filled his mind and made him make this decision. But how did he make this decision? What kind of inner conflicts did he experience? This is not a director’s business, but a matter of inner conflict. The child's own business. If Rossellini wants to project his own explanation on the child, and let the child reflect this explanation according to our own needs, in order to propose an interpretation for us, then we must resort to technical processing. In the last quarter of the film, the child is looking for sympathy and consolation everywhere, but the process of suicide after being ignored by everyone. In this segment, Rossellini's aesthetics is the most obvious embodiment. The first is that the teacher refused to take any responsibility for the student's behavior, and blamed him for hurting himself. The child was kicked out of the school, walked on the streets, wandering aimlessly, looking for the ruins in the Middle East, but people abandon him one by one, and the surrounding things have nothing to do with him. His little girlfriend was with his friends; these playful children hurriedly put the ball away when he saw him approaching. However, the close-up shots that create a sense of rhythm for this endless journey only reveal for us worry, worry, and perhaps uneasy facial expressions, but for what? For a black market business? For a handful of two cigarettes Knife? In order to worry about being beaten up after returning home? Only after the ending plot did we give us the key to solving the mystery. This is entirely because the look and the signs of death may be the same on the child's face when playing games, at least for us, because we can't see through his inner secrets. The child hopped on one foot beside the bumpy sidewalk, picked up rusty iron pieces among the rubble and scrap iron as a pistol, and aimed at the imaginary target beside the drooping pheasant: slap, slap. slap... Then, just like playing, he involuntarily pointed the imaginary gun at his temple. Finally, it was a suicide scene. The child walked to a building opposite the house and climbed up the high-rise building along the destroyed stairs. He looked at a large truck that served as a hearse. The truck pulled the coffin away, and the funeral family stayed behind. Roadside. A steel beam lay down along the tilting floor, like a slope on a snowmobile; the child sits on it, slides down the slope, and falls into the air. His small body fell to the ground, behind a pile of gravel beside the sidewalk, and a woman put down the straw bag in her hand and squatted to the child. -A tram drove by and heard the sound of "Kang Dang Kang Dang". The woman leaned back against the gravel, with her arms lowered, her expression resembling the eternal grief of the Virgin Mary when she embraced the body of Christ in a painting or statue. We know well how Rossellini had to deal with his main characters in this way. This psychological objectivity conforms to his style logic. Rossellini's "realism" is completely different from all the truths expressed in previous movies (except Renoir's movies). This is not the realism of the subject content, but the realism of the style. Perhaps, he is the only director in the world who is good at presenting a plot action objectively and truthfully placed on the same level of the background and scene scheduling, and at the same time can arouse our interest. Our emotions are not mixed with any sentimental elements, because it has to be reflected in our reason. What excites us is not the actors, nor the events, but the meaning that forces us to comprehend from it. In this kind of scene scheduling, moral or dramatic meaning never surfaced on the surface of reality, however, as long as we think carefully, we can definitely know what it means. Don't change the original appearance of people and things, and force people to use their brains to make judgments. Isn't this the exact definition of realism in art? There was a sound of "Kang Dang Kang Dang". The woman leaned back against the gravel, with her arms lowered, her expression resembling the eternal grief of the Virgin Mary when she embraced the body of Christ in a painting or statue. We know well how Rossellini had to deal with his main characters in this way. This psychological objectivity conforms to his style logic. Rossellini's "realism" is completely different from all the truths expressed in previous movies (except Renoir's movies). This is not the realism of the subject content, but the realism of the style. Perhaps, he is the only director in the world who is good at presenting a plot action objectively and truthfully placed on the same level of the background and scene scheduling, and at the same time can arouse our interest. Our emotions are not mixed with any sentimental elements, because it has to be reflected in our reason. What excites us is not the actors, nor the events, but the meaning that forces us to comprehend from it. In this kind of scene scheduling, moral or dramatic meaning never surfaced on the surface of reality, however, as long as we think carefully, we can definitely know what it means. Don't change the original appearance of people and things, and force people to use their brains to make judgments. Isn't this the exact definition of realism in art? There was a sound of "Kang Dang Kang Dang". The woman leaned back against the gravel, with her arms lowered, her expression resembling the eternal grief of the Virgin Mary when she embraced the body of Christ in a painting or statue. We know well how Rossellini had to deal with his main characters in this way. This psychological objectivity conforms to his style logic. Rossellini's "realism" is completely different from all the truths expressed in previous movies (except Renoir's movies). This is not the realism of the subject content, but the realism of the style. Perhaps, he is the only director in the world who is good at presenting a plot action objectively and truthfully placed on the same level of the background and scene scheduling, and at the same time can arouse our interest. Our emotions are not mixed with any sentimental elements, because it has to be reflected in our reason. What excites us is not the actors, nor the events, but the meaning that forces us to comprehend from it. In this kind of scene scheduling, moral or dramatic meaning never surfaced on the surface of reality, however, as long as we think carefully, we can definitely know what it means. Don't change the original appearance of people and things, and force people to use their brains to make judgments. Isn't this the exact definition of realism in art?
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