He walked out of the music classroom dejectedly, and under the pale sky, the play of poor children around him had nothing to do with him. You are generous, you let him get acquainted with a kind-hearted proletarian worker, and you let him teach him to drive the road roller, which made the kid next to him jealous.
You are natural and free in your world, and I am like a voyeur. Apart from deeply impressed by the light and shadow, I also admire the nostalgia of life.
He gave him a bottle of proletarian milk, just like a jug of childhood milk held by a little boy in the later "Mirror", the image can extend infinitely and lead to the absolute. Every scene is filled with moisture, and reflections on the ground meander to the depth of field. He proudly introduced to the people around him, "He is a violinist, not a working class." The other him, the violinist was angry, he threw away the hard bread in his hand, and the sewage between them was. The traces of water extend far away.
You said behind me that the image is indivisible and unpredictable. It depends entirely on our perception and the real world that it wants to present.
In the Soviet Union in the 1960s, the proletariat occupies an absolute position. The road roller worker in the film is kind and simple. With his rough and powerful hands, he gently touches the delicate violin, admiring the little boy who can play the violin. The little boy talked about the resonance theory, found a foot, and pulled out piano music that surpassed his age level. He was quite different from his previous performance as a music teacher. He had a burst of passion and excitement. Like the eyes of a lake in the bottom of my heart, opening and closing, I love those eyes. I also like the eyes of the road roller workers and the shallow dimples at the corners of their mouths. Suddenly I feel inexplicable heartache. This country has influenced the former kingdom of the fourth and fifth generation directors of our country, but now it is hard to find a trace. F who is currently studying in St. Petersburg, majoring in film and television, does not know how well she has been recently, and hopes that the lasting charm of images will still make her believe in the same.
The rain was strong, and the huge bulldozer hammer knocked down the dilapidated factory building. He gave the young man his clothes to hide from the rain. Together with the crowd, they watched the building collapse. The benevolent see benevolence, and the wise see wisdom. As far as I can see, what I see is his smile. During a short period of time, they separated and then reunited. The fortress that separated each other was also knocked down, and friendship crossed classes. When filming that year, when you were 28 years old, what did you really want to say? I am anxious to speculate about the master's work.
May I catch a glimpse of the aura of truth in my blindness. If I had watched Tarkovsky's movies in that era, I would have been bloodied and plunged into the craze of idealism. However, time has passed, and the proletariat and the bourgeoisie talk about the proletariat and the bourgeoisie still exist in the world, but no one is willing to actively explore the distance and estrangement in this world. There are too many falsehoods, too many lies, and only those with absolute power. People have the right to speak. Violence is everywhere.
You started filming in the Soviet Union at the age of 28, and died of lung cancer in Paris at the age of 50. Within 22 years, you devoted yourself to the film industry. 2 short films and 7 feature films, all of which are highly regarded. Such masters are far from each other, Bergman, Antonioni, Akira Kurosawa, Shinsuke Ogawa... "Magic Lantern", "Toad's Oil", "Sculpture Time", "Idealism Confusion"... the master not only left images, but also gave us book comfort, double spiritual food, sad little angry youths filled their hungry souls with this. It's just that the pure idealistic spirit has been annihilated. Is this the survival of the fittest in this era, or is it a big regret? The young angry youths are empty of enthusiasm, and the reality has to make them make concessions.
The little boy meets with the road roller worker to go to the movies. The little boy was about to go out, authority appeared---his mother, dressed in plain clothes, she detained him, he could not go out, but he was waiting for him. The little boy wrote a note, folded it into a plane, and threw it down. Unfortunately, the road roller worker just turned and left. Later, he and his female colleague---a young woman who pretended to meet by chance, went to see a movie together.
Everything goes against our wishes, but if we follow the truth, we may be able to find a way out.
At the end, the little boy ran from one corner of the frame to the opposite corner of the frame. The beautiful oblique composition was shot from above. The ground was flat and docile black asphalt, depressing and dictatorship. However, the little boy ran to the road roller worker. Will his piano box still be placed in the trunk of the road roller in the future?
Are these last two shots dreams or reality? Even if I see everything through, I still want to believe that everything is beautiful.
You led me through the journey of half a century. The eyes of the staring eyes were always there. Ivan before the execution and Pollyska standing in front of the clock, weren't they all like this?
(Xiaofeng Film Critic Analysis Course Final Assignment)
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