Bobonnie
went to the Literature Department yesterday to buy a ticket for Antonioni Film Week, and found that there was something wrong with a money counter in the department. Because I bought a lot, I gave away a thin booklet. There is a quote from the master: "These are the Chinese people I have photographed in just a few weeks of work and on a trip that gave me a passion that I will never forget. You want to follow me to join this and enrich me, Could it also enrich your trip?"
Sitting on the afternoon steps, the sun shining on me intently. Holding a paper cup of instant coffee, read the limited Chinese characters in this booklet. People come and go, can't disturb me, but make me concentrate. I would most like to sit in a place like an art school and feel comfortable. They are all young people with different images. I am most willing to see this kind: tired, excited, lazy, casual, thoughtful but free of concern, indifferent but passionate in the eyes, simple temperament, and naturally decadent in spirit. This kind of temperament can be seen on the faces of art students all over the world, and of course, the same is true for under-famous artists.
After reading a short introduction to Antonioni’s directorial career, I still feel the same as reading the fragments of Tarkovsky’s diary. There are only two words in my mind: difficult. Of course, the specific difficulties faced by these two masters are very different. But it's still difficult. It was beyond my expectation.
Maybe in the vague imagination, the masters are all such people: unattainable, indifferent, paranoid or certain crazy. The power of lust is super strong, and it has the right of moral forgiveness. Tenacious and clever. If happiness is too boring, it is better to be burdened with pain. Use everything that life has reserved for them. Not only to be nourished from want, desire and loneliness, but also lovers, intimacy, passion and love. With a powerful and unshakable force, they wantonly twist, transform, or sublimate their lives and other people's, just to explore their spiritual desperation, and do not need to be loyal to anything other than their own art.
Yes, maybe it is true. In essence, they are all pure. But in addition to the "director", they also have a "career". In his career, Antonioni, the film will be moldy (the master's film will also be moldy!), received cold reception (every master will be coldly received before becoming a master), can't find money everywhere, and get fucked (masters are also fucked!) ), a emotional change can completely stop his filming, and a serious illness can make him never stand up.
Just like the fragility and irritability in Tarkovsky’s diary, the same mortal smoke and fire, he wrote densely to his younger son, telling his son what to read, and kissed him ten thousand times. .
Among all the masters, Antonioni is probably the most shocking one for me. The top film masters are limited. Of course, I almost don't understand my current film practice. But even if you don’t understand, you can still feel it. Just say a few people in Italy, Fellini's black and white light and shadow always fascinate me, I don't know how many times I watched a "Sweet Life". (When I watched "Lost in Tokyo" a few days ago, just a picture flashed on the screen. I definitely said: "Sweet Life".) Rossellini and Desica can touch my deepest emotions. Visconti's luxury and nobility. Pasolini's movies have the popularity that I like very much. They are vivid, dirty and delicate, dirty and holy. I don't like Bertolucci very much, but I am also shocked by "the people who follow the crowd". Only Antonioni, like a mountain that is so high, is so awful that I don't even have the courage to climb.
Antonioni's nobility is not classical, but modern. The pain suffered by the people in his movies is a pain that I am not familiar with-suspicion. Suspicion is too European. In the movie, the men and women who have clicked so far fall in love and separation for no reason, like clouds, and the love scenes are not sensational. Suspicion and fear have not yet come to China. It never happened to me, a 22-year-old girl born in a proletarian family in the countryside. I always fall asleep in his movies, the same on any occasion, with a crooked nose and mouth and sometimes drooling.
I know a few people like Antonioni. My teacher of the movie enlightenment brother Guo Guo. Movies are his religion. He has a kind of missionary enthusiasm and a sense of martyrdom. He took me to watch a lot of master movies together. Director Zhang Ming. "Password Seventeen Hours" is like "Qing Yu". Teacher Du Qingchun. After reading his long paper on Antonioni, I was in awe of him and Antonioni.
Maybe I am really interested in Antonioni because of his book "A Director's Story". His writing style is excellent. They are all fragments, which are not tiring to read, but they can inspire me to look at life in another way, organizing fragments, just like editing. That book accompanied me on many journeys (his book was also written during the journey). I read "Things Like Horizon" at the airport and talked about a crash. I told the Green Demon, she comforted me and said, it’s okay, there is an affair in the book later.
It's funny to think about it, it turned out that the words brought me closer to the master. Some time ago, my work and rest were reversed, and I could only fall asleep at nine o'clock in the morning. Between extreme fatigue and extreme awakeness, I took out Antonioni to hypnotize. With bad intentions, there is no pressure. I found Antonioni tolerable. (Not to mention enjoyment.) Those alienation, indifference, depression or troubles can more or less find traces in my heart. I still don't understand, but those images are just like some old ancient paintings. I look at them and they look at me.
Sometimes I think that you can respect the master, but you can't be afraid, let alone stay away. Even if I don't understand the master, I'm willing to get close, not pretending to be coercive, arty. Seeing a master is not to learn skills, but to cultivate one's energy. Truffaut said that whenever he didn't know how to shoot, he wondered what Renoir would do, and when Cézanne couldn't write a pen, he would immediately take a carriage to the Louvre. Maybe for me, going to see Antonioni is like going to the Louvre. Probably his eyes are full of magnificent brilliance, and his eyes are dazzled. It doesn't matter, what about it, let your thoughts go in and out at will. Worship the master, bring a little lightheartedness and playfulness. Not arrogant, not fragile, not gearing up, and not desperate. I think I might bring a blanket and a pillow. The cinema is very warm. Think about it, it’s nice to be able to sleep and wake up in Antonioni’s movies!
When the movie comes out, I will take a serious look at the poster on the wall: Antonioni frowns, his eyes are deep, he is holding a camera, and he has very wide hands. I will whisper in my heart: Hey, I have visited you, Antonioni!
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