where is my dear?
Cen Shu did not answer, but shook his head.
I asked a white poplar,
where is my dear?
The poplar just rubbed my whole body of leaves, and
I asked Qiuji,
where is my dear?
It answered me with a burst of autumn rain, and
I also asked Qiu Yu, and it
was vain to ask again.
I asked the moon,
where is my dear?
The moon hid in the clouds,
I asked the cloud,
where is my dear?
The clouds disappeared under the clear sky.
I asked my only friend, and
he said, my faithful only friend,
she is now my wife.
----The film episode is
on the Internet. This is said to have changed everything, including everything, and input on everything, Andremyakov, sorry, I didn’t find the relevant webpage.
Ryazanov’s love trilogy uses the dramatic routines of encounters, conflicts, and love. Perhaps for children who grow up watching American blockbusters today, it’s too old and too strenuous, a long story, and intense. The dramatic structure, thick dialogue, no color, only emotion. The label is completely made in the Soviet Union, and of course, there is also the fierceness of the Russians.
Why is the love story in Russia different from the love story in Britain, France, and other European countries?
Why are things written by Russians so heavy and intimidating, whether it's the long, slurred names or the weight of books, let alone the themes of life and faith?
Why are Russian women—at least the women in literature and movies—so fierce or even crazy? Why are the men in them so painful, whether it's a small clerk who has a new coat or the landlord of the manor?
For young people who have been nurtured by Austin and Duras, a woman can throw one hundred thousand yuan into the stove in order to test the soul of a person, and a poor and sick orphan is willing to not go to a wealthy noble father for dignity. Begging, fry her beautiful new skirt, a girl who pushes her beloved to her rival, just to make him happier, is a masochistic and stupid girl.
This is the urge to write this article after I saw some young readers' comments on Dostoevsky's work. Also, I can’t forget my dear Andrea---a Russian actor with innocent eyes, a large forehead and brown hair.
I believe in Russia-Dostoevsky.
Let me talk about this movie first.
Yes, the absurd plot, humorous dialogue, farce style, is a comedy, but why is it sad afterwards?
Even the last meeting cannot erase the faint sadness.
This is the Russian style-no feeling of pain equals no life.
A simple story of love caused by misunderstanding, it can be easily filmed as a Hollywood-style one-night romance among Americans, and a triangular or multi-angle love game among French people-French people are best at this theme. On the contrary, the one-on-one shooting is not good. For Italians, it is a physical growth film. In the eyes of Spaniards, it is Carmen's revenge of jealousy and misunderstanding. For the British, it is just a deal and choice for a perfect husband.
Only for the Russians, love is about soul, belief, dignity, and conscience.
For Russians, love is a sacred bridge and test to faith. In their souls, true love is always the interweaving of love and hate. The four people in the film are all facing the major test of their lives. This is not a French-style fornication or a British-style calculation problem, but a choice about people’s conscience, fulfilling their due obligations and being safe but not passionate. Marriage, or bravely accepting new love, morality and love, which one is it?
Although the ending of the story is happy, who can say that everything is perfect, just like the protagonist's mother said, look at it.
The film uses the indoor drama method, which is a big test for the actors. How to not make the performance blunt and tire the audience in the limited space and heavy-weight lines, but also to master a certain rhythm. I believe that only Soviet actors can do it. Yes, our lovely Andre did it, perfect. There is a degree of relaxation and ease of retracting. His genius is able to balance the strong sense of comedy and the heaviness of tragedy with ease.
He has a rare ability to remain silent in front of the camera, one film critic said.
This unremarkable man who originally studied chemistry is so calm and powerful in the long close-up shots. Staring at you in his rare innocent eyes, you will suddenly find that such an astonishing power lies in the man with the appearance of a small clerk.
To understand Russia, you must know two people.
Not Pushkin---I know he is the only person who makes everyone in the world understand and feel as cordial as a brother,
not Turgenev, he is elegant and sad, and aristocratic, but too westernized,
not even a great old trustee. I admit his greatness, his solidity, and his moral spirit is the most important word,
but I think that if you want to truly understand Russia, you must read Gogol and Dosto. Jevsky.
Gogol is a mystery.
His mysterious, weird, and creepy sense of humor are all revealed in his dreamlike works. His dead soul is a huge riddle to any reader, his absurdity, his pain, and his sinking. , His devil.
Dostoevsky, my spiritual mentor.
Everything about the Russian character will be found in him.
Pain, pain.
In his writing, people are always suffering, even if they find God. Love is not a tender word, nor is it a romantic fantasy, but a kind of punishment, violence, cruelty, torture, and insult, in which the soul suffers.
If the characters in his works are in love, it will be a storm, a Job-like test that cleanses the soul. If she loves him, she must torture him, and so will he.
She loves, is the beginning of hating him, he hates her, the more they love each other, the hate A woman full of so-called masochistic spirit. For them, no strong feeling is not feeling, and love without pain is not love. As Camus said, love is tyrannical. So we can always see fierce women in Ryazanov, the female chief who beats her lover, the powerful station waitress, and the glamorous blonde in this film.
But who can conquer these women?
Is it money or power, looks?
No, it's those little people who seem ordinary, they look ordinary, they are a bit useless and bookish, but please note that they are kind!
Knowledge and education are of course very good, but what about conscience and conscience?
These are the words of Soviet director Shuschenk.
This is why in the era of rapid capitalism development, British Dickens took Nair and Oliver only escaped into the reformist family warmth, French Balzac escaped into the exchange, German Wagner and Nietzsche Fleeing into the forests of the Middle Ages and ancient Greece, Kafka in Austria became a beetle, and even the United States has a catcher in the wheat field. And only the Russians are brave enough to break this material behemoth in reality and build a heaven on earth.
Because the proud Russians cannot bear the pain of the soul and the tragedy of losing their sweet love brought about by materialization.
Materialization means the pain and dryness of the soul, and it means that everyone is equal only in the face of money. This is unbearable for the Russians who pursue excellence. For them, human dignity and soul are everything.
It is the Americans and the Soviets who can shoot the most beautiful love stories in the world.
Although on the surface, the two are very different from the people of the country and the nation, they both pursue excellence and have strong beliefs. Love is a kind of belief.
This is not accidental.
Reminiscent of the recent 7 consecutive jumps and those workers who are being deprived of their youth and love by machines, I feel that this is a shame of Chinese literati, numb, indifferent, and indifferent. It is this half-death state that makes Chinese people only I can shoot bad movies and burn money. I can't make a big deal without feelings.
Dear Andrea!
Where are you?
People have forgotten you, but I know you are one of those charming and happy stars.
The Soviet Union is gone, but Russia is still there!
Love is still there, ideals and beliefs are still there, spirit is forever, and art is immortal!
Even if people all over the world forget you, as long as I live, I will never forget you.
I love your innocent eyes and sad smile.
And your tender kiss.
There are three most kissable actors in the history of world cinema.
Clark Gable, Marlon Brando,
and you—
Andrei, Vasilyevich, Miyakov.
You melted my heart.
Dear Andrea.
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