Minutes of the post-viewing symposium on Martha Fiennes's "Onegin" / Arranged by Fan Daming / Time: January 3, 2015 (Saturday)
10:55am-11:35am Venue : Henglu Fine Arts, No. 202, Nanshan Road, Hangzhou The lecture hall on the ground floor of the museum (the scene after the viewing of Martha Fiennes' "Onegin" at Henglu Art Film Bar) Participants: (preface) Fan Daming, Ding Shan, Tang Furong, Ma Yile, Wang Xiling, Jin Aiwu, Yang Yuehui , Ma Yanming, Ma Huijie, Fu Jiaxiang, Zhang Xiaoping, Zhu Hui (viewers: Ji Boqing, Zhu Ming, He Ruming, Zhu Jianyun, Weng Xiliang, Wang Yuefang, Yu Han, Zhang Yusu, Zhou Hongze, He Tianhua, Fan Dayin, Jiang Xizhen, Wang Haiyan, etc.) Moderator: Fan Daming Record: Zhu Hui's "Onegin" was seen on CCTV movie channel many years ago, and it left a deep impression
Fan Daming: In November 2014, that is, two months ago, we had already seen the hero of today's film in the last screening of "The Invisible Woman" of "Celebrity Biography Movie Month • Lover". He is Ralph Fiennes, the hero of today's British cinema. In "The Invisible Woman" shot in 2013, he was the director and star, playing the British writer Dickens, while the film was shot in 1999, 14 years earlier than "The Invisible Woman", and he starred in Onegin , the film was directed by his wife Martha Fiennes. At the age of 37, he was able to play the young Russian noble Onegin, and 14 years later, he was only suitable for playing the old writer Dickens. I've seen the years go by in this director and star, and it's relentless. I watched the film "Onegin" on CCTV Movie Channel many years ago, and it left a deep impression on me. The charm of the film also comes from the original author Pushkin. If Pushkin, who is known to Chinese adults and children, is only regarded as a fairy tale poet like "The Fisherman and the Goldfish", it would be a big misunderstanding. In fact, he is the real founder of Russian literature. His novels were adapted into movies by Soviet film artists. The ones I read when I was a teenager included "The Captain's Daughter" and "Queen of Spades". The Soviet Union also filmed a film of the same name as the original novel in poetic style, "Evgeny Onegin". I missed watching this film. It was released in China in 1960. I was still in junior high school in Shanghai; but it was an opera. Movies, not the type of story movies we see today. Ding Shan told me just now that she had seen this old movie.
The male protagonist Onegin is too selfish. He actually lives in his own world.
Ding Shan: I have three points of view: First, today's new movies are not as good as the old Soviet movies. The second point is that the heroine is too disappointed, the people and clothes are plump, and the actors chosen by the director are too fashionable. The third point is that the actor Onegin is too selfish. If he had already rejected Dagiana, would he still disturb Dagiana after marriage?
Tang Furong: I also think the male lead is too selfish. At that time, the Russian social hierarchy was strict, and Onegin rejected Dagiana. Improper family status should also be a factor. Onegin has actually been living in his own world.
There is no waiting in love. Dagiana is loyal to love, and her sister Olga is very vain
Ma Yile: Onegin's idea was too self-willed, and things developed later, if the opportunity was missed, it would cease to exist. There is no waiting in love. Dagiana is very loyal to love, while her sister Olga is relatively less loyal to feelings, but has strong vanity. Onegin
doesn't want to restrain himself through marriage, which is completely the inner world of noble children.
Still cynical, not seeking the establishment of marriage and family. At that time, he also fell in love with Dagiana at first sight, but his heart was more contradictory. At first, he did not know that Dagiana also fell in love with him at first sight. When he received her letter, his first reaction was that he In his heart, he doesn't want to finally accept this sudden love, because he doesn't want to restrain himself through marriage. This is completely the inner world of the noble children.
Onegin's courage to finally express his active pursuit of Dagiana is still admirable
Jin Aiwu: for Onegin himself, it is also a tragedy. He advocates freedom more, and he does not trust marriage. When he came back from a trip to find true love, it was too late. Dagiana is very rational, and in the end is loyal to her existing marriage. But I think Onegin's courage to finally express his active pursuit of Dagiana is admirable. The film handles the emotions of the protagonist very delicately.
Onegin ended up getting nothing, which is also a life experience. The precious Yang Yuehui of love can only be known after experiencing it
: The narrative method of the movie is flashback. Onegin has his aristocratic temperament as well as the rebellious consciousness of young people. For example, he rented out a farm and decided not to bring slaves. His understanding of marriage is in the same vein as that of Dagiana's mother and her cousin, that is, marriage is marriage, not the same thing as love. Onegin ended up getting nothing, which is also a life experience. Only through experience can you know how precious love is. I don't think Dagiana will accept the Onegin in front of her anymore, because he is no longer the original Onegin. Now he looks decadent and does not seek to make progress. Their love is over.
Onegin is the first type of "superfluous man" to appear in Russian literature
Van Damien: In nineteenth-century Russian literature, characters like Onegin are considered by critics to be the first examples of "superfluous people" in Russian literature. This is to understand the value of this or such characters from the perspective of literary aesthetics. Obviously, we cannot completely deny the significance of this character, not only in literature, but also in terms of politics or social morality. Onegin is the type of character that must have been produced in his time.
Onegin has a curious mentality. Even if he pursues
Dagiana at the beginning, it may not be long for Ma Yanming: Onegin is an aristocratic young man in the upper class; later Dagiana also became a new noble after marriage. Did Onegin think they were on the right track because of this? In fact, Onegin himself has a curious mentality, so even if he pursues Dagiana at first, it may not last long. I think the characters in this movie are very well chosen and the actors are very good.
This section of Onegin's re-confidence to Dagiana is also very touching by
Ma Huijie: the film also reflects the social phenomenon at that time. Onegin was an urban aristocrat at that time, and he went to the countryside to inherit his inheritance, so it was difficult for the urbanites and the villagers to accept each other. Later, when Onegin confessed to Dagiana again, it was also very touching. Dagiana is very rational. In order to cherish the moment, she took the initiative to have sex with her husband that day. She also did this to show her position and strengthen her existing marriage choices.
The Tragic World Significance and Typical Significance of Onegin and Dagiana's Love
Fan Daming: Dagiana's decisive action was by no means easy or easy for her, but she entered a very difficult situation under the mixed feelings and dilemma. In the end, she insisted that she was strong. His rationality has overcome his original passion and appeal for love, which is undoubtedly a choice that goes against his original ideal view of love, that is, the highest ideal of love. Dagiana's ultimate abandonment of Onegin's love was her helpless choice to retreat in front of the grim reality of the Iron Curtain - when she was hopelessly waiting for Onegin, then she This was true when she accepted her husband's marriage, and even more so when she finally refused to pursue Onegin again. The tragic intensity of the film is reflected here. In this regard, this tragedy is not so much expressed in the ultimately fruitless outcome of Onegin's life and love as it is in the heroine Tatyana, and in Tatyana, who was Destroyed and torn up love ideals and love beliefs - Dagiana, this new woman in the Tsarist Russia era, is still the same as the women of the previous generation or even older generation, only in a loveless marriage. , to spend his mediocre and mundane life in his family life. The tragedy of "Onegin" or the tragedy of Dagiana's love is still happening in today's world and Chinese society in the 21st century. The reason for moving is also the world significance and typical significance of Pushkin's literary works.
In the final confrontation between the hero and heroine, the director chose a long lens, but it didn't delay at all, everything was silent
. The form is very good. The acting of the actors in the film is very good. The actor has a more accurate grasp of the character's positioning. In the last scene, the empty house is just a chair, there is no spark of true love between Dagiana and her own husband, the director chose a long lens in the eyes of the hero and heroine at the end, but we don't think it is procrastination at all , everything is silent.
The film's portrayal of Onegin and other protagonists and secondary characters is in place, and the story environment also has a typical performance
Van Daming: The film portrays the four protagonists Onegin and Dagiana, including the relatively minor Lenski and Olga, well, and also has a typical performance for the film's protagonist and the environment in which the story is located. For example, the same ball, the country ball held for Dagiana's Holy Name Day, and the ball held in the Metropolitan of St. Petersburg after Dagiana's marriage were completely different in scale and atmosphere. The "duel" between Lenski and Onegin was on the boardwalk by the river with windmills. This setting is also very classic.
Zhu Hui: Everyone's analysis of the male and female protagonists is in place, and I also agree with this analysis. In particular, I think the director of the film did a good job of portraying several of the minor characters in the film. For example, there was a person at the party who deliberately recited a poem he wrote in French (Mr. Triquet), which was in line with the exaggerated style of the social lifestyle of the upper class at that time. In fact, this was nothing but vanity in the lifestyle of the upper class. . In this regard, the film is also fully reflected through the depiction of Dagiana's sister Olga, and the image of Olga is very realistic.
The scene of "Duel": two "lost voices", and the "white film" as the turning point of the whole film
Fan Daming: The "duel" scene is not only good for the environment setting, but it is a turning point in the overall plot of the whole film and even a key scene that decides the fate of many protagonists. The cruelty of the "duel" rules and Lenssky's intransigence, including his gaffes and emotional impulses, ultimately led to Lensky's fatal death. In fact, Lenski's gaffe has been described in the film before, not only at the ball and the night he didn't return at the ball - this is also the fuse for his final decision to "duel" with Onegin - -Especially when he went to see Olga before "dueling": when Olga confessed in front of him that he shouldn't dance with Onegin, and asked him to come over, he just stubbornly refused to come, as if he There is already a deep chasm that cannot be crossed with Olga, and at this time, the film has Olga's "voiceless" treatment when speaking to him. Because it is a lens from Lenski's perspective, it represents Lenski's time here. of his mental state: The "losing voice" of Olga's words indicated that he could no longer listen to any persuasion from the people around him, and was determined to go his own way. This technique is also used precisely in the scene when Dagiana, as a distant bystander of the "duel", ran home to tell her mother and sister after seeing Lenski being shot and killed: a small circular The table was knocked over to the ground, the mother and her two daughters hugged each other and cried loudly, and we didn't hear any sound. What a huge emotional blow for the three women. Here is about 63 minutes after the 106-minute film, followed by a shot of Onegin standing alone on the wooden plank road beside the duel river in the distant view, the blades of the windmill are still spinning - shot Then it fades out in a "whitening" way, until the entire screen becomes a completely empty "white film". The handling of this "white film" has truly become the turning point of the whole film with the help of specific shots. It is worth noting that it is exactly at the time when the film length reaches 64 minutes, which is exactly at the time when the film length of 106 minutes is in line with the golden section. The artistic treatment done by the film director here is truly superb and breathtaking, and can be written in the history of world film art and aesthetics! ——And after the "duel", Onegin left without saying goodbye, he left the country, and left Dagiana, who had continued to wait for him for many years. In the end, just as the old grandma in the film who used candle oil to pour into the water tank for divination predicted: Olga, and Dagiana, will marry soldiers, you can't change your destiny - these two sisters later Sure enough, they were all married to soldiers, and they were destined to have no marriage with non-soldiers like Lenski or Onegin.
Organized on January 9-10, 2015, supplemented on the 12th
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