Italian neo-realist films began with a focus on the bottom, and most of them expressed a kind of sympathy for the poor by intellectuals. Desica has made many such films, such as "The Bicycle Thief", "Tears of the Wind Candle", "Shoe Shine Boy" and "Tears of Mother and Daughter". The names of these movies sound particularly bitter and look unpleasant. Visconti, a son of the nobleman, has also filmed such "low-level movies", such as "The Earth Was Fluctuating", which has a strong left-wing color, and it is not so good today. why? Because it is too political, and politics has changed over time. Fellini also expressed his pure sympathy for the bottom in his early days, and his masterpiece is "The Road". But the setting of the circus and that stupid woman will give people a higher level of sympathy. If Fellini continues to shoot like this, he may end up being doomed to be mediocre. In fact, a year before "Big Road" (1954), he had already filmed "The Strayer", which created three or four portraits of idle and idle gangsters in the small town; the following year, he filmed this "Liar", Tell the story of three liars. It is not accurate to say that the three liars are actually telling the story of a half-liar. Because the blonde among them is stubborn and incorrigible (seems to run directly from "The Wanderer"), he looks very shallow under Fellini's lens. Half of the story belongs to the family man. He is thinking about his wife and children. He makes himself a golden basin to wash his hands every day, but he can never do it, because he thinks he has a face that is most suitable for doing a liar. "Like an angel." Only the liar head Augustus is perfect. Just like "every killer has elementary school classmates", this veteran liar also has his beloved cusp daughter, so he will also give birth to pity in the deception. While watching the movie, you will hope that Augustus really found out that he would return the money to the disabled girl. However, if Fellini shoots in this way, "Liar" will become popular, and it will not be a work left behind in film history. It is precisely because the story did not progress as expected by the audience that the character Augustus really stood up, and Fellini's anatomy of human nature touched the soul. At this time, you will discover why that kind of mercy to the lower class can not stand the test of time. Because Fellini is not only concerned about the bottom layer, he also sees the edge of the bottom layer, those who play acrobatics ("The White Chief", "Beauty Spring and Autumn"), those who play a lot of time ("The Langer"), and the poor The deceitful ("Liar") and the betrayer ("Kabylia Night"), all these marginalized people constitute a social wonder, and tell stories about the corners of human nature. Fellini should be well aware: there are not many dramas at the bottom, only at the edges.
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