Obviously this is a story about growth.
Growing up is always full of difficulties, but the unknown is fascinating.
Apart from other things, the courage of Ullah and Alexander at the beginning of the film that they decided to embark on an unpredictable journey to find their father is enough to make me ashamed. So this film must be moving. I thought so when I saw them board the international express bound for Germany.
The image is still so slow, because life is so slow. Slowly without much language.
But the road to pursue is so long, as long as they believe in.
They embarked on a journey to find their father because they firmly believed in the existence of a father. If there is no father, there would be no them.
Father is the light from the source of life.
Therefore, no one cares about their mother's lie: his father lives in Germany.
As long as there is a way, there is hope.
1. The
coming-of- age ceremony of Wula, Mr. Lu Xun once said: The so-called tragedy is to destroy beautiful things for you. I recalled that long suffocating scene again. There was no music, no yelling, or even struggle. Repression has become irrelevant. The curtains of the passing vehicles and the stationary truck compartments form a strong contrast. The same scene, between movement and static, "things are not humans". This is a high-level film technique, but it is used so cruelly.
I remember my eyes were looking eagerly. When the car stopped, how I hoped that the person who got off was the Oristis who had met her brother by accident, or someone else, as long as someone could find it. But in the end the vehicle stopped and left. And I only have heartache breathing. The devil in a person's heart always appears at the most inadvertent moment, and completes an empty catharsis in a shocking way.
Little Ula already knows how to deal with adults at the end of the film. The soldier was embarrassed, and after Emperor Zhang lost his way, humanity finally conquered desire, and Satan was temporarily hidden.
Satan is only temporarily hidden.
Cruelty comes and goes like the wind. But the trampled grass still grows tenaciously.
It seems that the first love in the world is sad. It also seems that only in this way can the world slowly expand under our feet.
Unless we die, our whole life is growing.
So our life is full of changes.
Oristis is like a father and an angel. Angels can only stay in the imagination, and the father lives in the world. Little Ula's affection for Oristis is with a fatherly attachment. As a father, he can protect the children at a certain moment; as an angel, he can only face the vast sky and recite the verse of Rilke’s Duino’s Lament: “Who is it, if I shout, I can Hear me in the angel's sequence?"
This relationship was doomed to be fruitless. After Ula cried bitterly while holding Oristis, she pulled Alexander away without saying a word, truly leaving.
This departure marks Wula’s farewell to her childhood.
2. The God of Alexander
Why does the name Alexander repeatedly appear in Angelopoulos's image world?
"Alexander" symbolizes a strong, healthy man of Greek descent, smart, kind, and lovable.
I think that the name Alexander has the same beauty as classical poetry, and every protagonist in his film has the temperament of poetry and the experience of legend.
A heavy snow spouted toward the earth. The people who stop to the sky are like classical Greek statues. Beauty condenses in that instant.
Ullah pulled Alexander, ran past the solemn people, and ran out of the world of snow. Running is the vitality of life.
When the young lady's brother saw the dying horse, Alexander wept bitterly. What kind of life and death do little children know? Alexander just instinctively faced the passing of life, grief and panic. Behind them is the joy of a new-born wedding.
It was so-called helplessness, and the flowers fell, as if they had met Yan's return.
But this is just the boring of my spectator.
...In the
beginning, Ullah told Alexander that God said: There must be light, and then there will be light.
Finally, little Alexander waved his hand, the fog cleared, the clouds cleared, and light came.
3. Other
seas are surging. Can people only worship? Facing the sea, what would you think? Or just in a daze.
I can't forget the huge hand and the three-minute shot.
This is "who's" hand? Why are you lost in the sea? Why is it hoisted by a helicopter?
The huge stone hand was broken, and the index finger that seemed to indicate the future was severed. Orestis was startled in a daze. Three people stood there, watching it disappear into the distance. In the distance, it is exactly where Ulla and Alexander are going.
Angelopoulos always "frames" people in a huge reality, and you often can't see the protagonist's face clearly. All you can see is the smallness of people in the material world in his distant lens.
In reality, it is actually a huge mixing machine on the construction site. And we are a pile of small rocks waiting to be stirred.
Fortunately, we still have hope.
Do not believe? You go to "Landscape in the Mist" to see the fog that permeates life.
Go and listen to the soundtrack of Ellenie Dancing Soul.
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