Sniper Pavlichenko has an innate talent as a sharpshooter.
Her life is also closely related to three men. Everyone has saved her. The first Makarov dug her out of the trenches after the shelling. The second Kitenko used her body to block the shells when the Germans encircled these two excellent snipers. The third Polya handed her evacuation certificate to her when she retreated to Sevastopol, in exchange for her chance of surviving. None of them saw the victory after the war. That's how war turns out. (I don't know if it is reasonable, but this movie gives me the feeling that Pavlichenko has the chance to escape again and again because of the love of three men.)
Pavlichenko's psychological dynamics are extremely well portrayed. After Makarov's death, she could not accept this reality and was full of revenge. The sharpshooter tortured the enemy, hitting her left leg with one shot and her right hand with one shot, enjoying the painful moan of the German army. But at this time Kitchenko stopped him, not out of pity for the wounded, not out of jealousy of the love that has passed away, but fear that Pavlichenko will be distorted by revenge and be backed by emotions. This emotional support is precious.
In this film, Mrs. Roosevelt’s thoughts are really outside the war environment. She touched Pavlichenko’s scar and said, why don’t they protect you well. Not to mention that these scars resisted the devil who came to rob her of her life. More importantly, did a female sniper need to be given preferential treatment because of her gender at a time of war.
Mrs. Roosevelt gave her a feminine dress and asked Pavlichenko to wear it for the press conference. As a representative of a national sniper who is experiencing war and seeking assistance, isn't wearing a military uniform more convincing and shocking than wearing a pink dress. I don't understand Mrs. Roosevelt, and of course Pavlichenko would like to wear a beautiful skirt.
I have also imagined that biopics will actually shoot plots that are consistent with historical data, but the interpretation is accompanied by the prejudice of the reader. The director misunderstood Pavlichenko, and I misunderstood the director.
Pavlichenko’s epitaph: Pain is so long-lasting, moving patiently like a snail; happiness is so short, like a rabbit’s tail across the autumn grassland.
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