Since the success of [Paradise Cinemas] worldwide, Tonadore has become the Titan of Sicily. His inspiration, power, fame, and even life are tied to this island. Tonadore, who is not very productive, had three "Sicilian" films [Paradise Cinema], [Study] and [Marlena], and now [Baaria] is the fourth. In small towns, children grow up, old people die, pregnant women give birth, farmers work, priests censor bad consciousness in movies, and beautiful women stand alone in the streets. People in small towns will be jealous, deceitful, cynical, kind, innocent, and humorous, just like people living in other small towns in the world. The stories of [Paradise Cinema] and [Marlena] are all unfolded through the eyes of children. They grew up with the town, using their own way to observe and understand the world around them, probably mixed with the personal experiences of many directors. [Study] is the story of a liar, but his scam unexpectedly produces beauty. The audience uses his camera to spy on the undefended hearts. [Baaria] is also a story of a person, but shows more feelings, or greater ambition, where he settles. Baaria is the hometown of Tonadore. The structure of the film becomes a circle from beginning to end. The head is the tail and the tail is the head. There is only a pair of yin and yang fish in the middle. Just like a song in [The Lion King] back then, "Circle of Life", "Endless", couldn't be more appropriate.
1. Movement and silence, leaving and returning.
At the beginning of the film, because of petty gain, Peppino's son Pietro accepted the arduous task of buying back cigarettes before the saliva was gone. He left his spinning top game and left. As he ran, he flew up. As he walked in the wind, the whole city of Baaria was in front of him. This scene was as beautiful as a fairy tale and a dream. Baaria is the Sicilian name of Bagheria, and Bagheria is the hometown of Tonadore. The aerial view of the city appears more than once in the film, marking the changes of the times. The film began during the reign of Mussolini, and the story continues to the present. Pepe has also grown from a farm child to a communist, from an active political activist to a political politician who is happy to enjoy the warmth of the family. The pattern of the film and (part of) the background of the times can all refer to Bertolucci's period drama [1900].
That impossible task set the tone of the film, which is to run. Running repeatedly appears in the film, exhausted running, properly placed in this town. Baaria is no different from the Sicily he once presented, noisy, rich, and energetic. In his "Sicilian films", Sicilians often state their opinions in a dance, and almost every sentence has a tendency to provocation and quarrel. It was the first time I saw Tonadore's movie in a theater, two and a half hours, and I felt exhausted. Because it is necessary to concentrate on tracking the constant changes, distinguish each vivid face, appreciate the joys and sorrows of the town, and share their abundant feelings.
It is precisely because the movement is so strong that Jing has a more perspiring power. For example, when a person dies, he says that he is going to die like a joke, and he will die. This kind of death is both bitter and unpredictable. It resembles Mr. Palomar in Calvino's writings-- "He decided to start describing every moment in his life. As long as he doesn't finish describing these moments, he He stopped thinking about death. It was at this moment that he died." Then, just after, Calvinossan also left. The dollar feller who has been on the corner of the road or in the crowd is another person who remains calm during the flow of time. On the most inappropriate occasions, even if it is a mass meeting condemning the American emperor, he will always be fascinated, " Do you want to exchange dollars?" "A constant person has become another person." I don't know how long his business has become, and his business will become a market economy. It is also unclear whether it is sad or happy. . In any case, this bastion of capitalism has changed after all.
In this Baaria, people can fly, even if they die, the old woman on the street can be an unknown prophet, as if staying in the era when myths happened, just like a family in South America where ants and wind will be the end of the pot, it also seems Analyze the China where strange people and strangers came out in large numbers.
Like Tonadore's other "Sicilian films", [Baaria] also has the themes of "leave" and "return". In [Paradise Cinema], under Alfredo’s hard to qualitative deception, Du Duo left his hometown and went to the "outside world" to find his own value. When he came back, not only was Alfredo dead, but even the new heaven cinema no longer existed. When the director superfluously cut out the most beautiful section, but the sunset is red, even the feelings of childhood return without regret. In [Marina] is her husband’s unexpected return from the front; the liar in [Study] is a professional walker, in the impression that he indifferently listened to countless people’s confession and deceived him. After love, there is a kind of "return of the prodigal son" style of humanity return. Even among the [Sea Pianist] who had nothing to do with Sicily, 1900 was reluctant to leave the sea, and finally retired.
In [Baaria], Pepe worked for Daoliang and went to work in France. There he was still thinking about his home and country. He wrote to his family and went to the theater to watch Fellini's movies. The bridge where the family gathered to read the letter was as warm as [Paradise Cinema]. Compared with this long time of departure, going to Soviet Russia for meetings and entering the city is not worthwhile. When he returned from France, the men basking in the square asked him where he was going. Here, time does not seem to exist, leaving and returning are confused. The freezing of time is shared by people who inadvertently confuse people who leave and return, and it is generally good for the city as a whole. There is no shortage of homesickness, so this kind of story can be perceived by more people, just like Mr. Wu Liu’s call to return.
2. Pepe.
Like Xiao Duoduo being slapped by Alfredo, in a larger time span, [Baaria] used similar disguise methods more frequently. Naturally, you have to work harder from life to death. From baby to old man. In the film, Tonadore paid tribute to himself several times, from school to the cinema, from the Tito of the film to the rise of television, from Peppa to the Inter Milan and Palermo star card for film film (by the way, the film There are many movies in it, but a small part of them can say the title, the people of Sicily love movies), to Monica Bellucci’s chaos, and then to the people in the town. If Pepe’s life history and urban history are more continuous and complete than the previous films, then there are not too few bubbles overflowing from the cup of Sicily. Fortunately, Tonadore still retains his feelings and heritage, far from being insensitive to the world. His repetition turned out to be interesting, fresh, and touching.
The film began when Mussolini was in power, and World War II has not yet begun, but Mussolini's teacher has already taken the stage. Calvino once traced the history of changes in Mo Lao's portrait, maybe this can be counted as the time of the movie. Pepe's father is a farmer who can read well, and he has some unruly free thoughts in his mind. This is also in line with the local violent folk customs, they do everything they can to ridicule Fascisti and the great leader Mussolini. Only after seeing this, I know that there is at least one "leader" in Italian pronunciation similar to the Chinese "dictatorship", and I don't know if our family is auditory or not. The landlord Jia Qingtuo's family dazzled with the Fascist party and was able to occupy a large area of fertile land. According to Mr. Shan Tianfang's speech, it is really "two sides of a private official, hands and eyes open to the sky." The arrogant Master Jia is the enemy of Pepe's family. He and the peasants are two aspects of the class struggle (although I don't like the term very much). They are the reality of Sicily and even Italy, and they complement Pepe's growth story. The other force, the Mafia, only hears its name in the entire film, but does not see its person, and even the back of Lord Corleone has not been seen. However, at least in Pepe's youth, Mo Lao is doing a lot of anti-crimes, and the Mafia is waiting for the allies to liberate.
Compared to ignorant teenagers, lonely young women, and unscrupulous scouts, Peppa is not a simple character anyway. If you consider his background and political stance, he is actually about the same as Paul Kochagin, except that the tutor's remarks are more humorous. What makes Pepe more human than Paul is that his revolutionary love is not wrong, and he even performed a drama of fighting for freedom and love. Because of the political content, the film will inevitably lose some of its usual simplicity and simplicity. The guide carefully embeds political events into the daily scenes of Baaria in order to strike a balance between history and vividness. He pursued a point-to-point policy for the political struggle between the cloud and the cloud, trying to turn the heaviness into ease, and express it in a humorous way. After returning home with a beautiful woman, Peipei has maintained multiple roles such as a Communist Party cadre, a farmer, an unaccompanied husband, an irresponsible dad, and a quasi-pauper for a long time. The young wife had to take her children to see the father on the dome of the church. Pepe worked as a model for the painter when she was a child. Ordinary people turned into saints in the paintings. Those who were not proper saints were long ago. Erased. With the disappearance of the painting, Pepe's innocence was also replaced by political turmoil. At that time, Italy had abolished the monarchy and established a republic, and the Italian Communist Party decided to participate in the parliament. They devoted themselves to land reform and demonstrations to fight for the rights of farmers and workers. However, the Soviet Union has become a new problem. The internal political struggle and the way of thinking in speech made Pepe be so confused that her relationship with family and friends has become alienated. The mysterious disappearance of her daughter’s earrings is a metaphor for this alienation. .
When Pepe had the opportunity to go to the Soviet Union and observe this legendary country with his own eyes, he thought of more, and only then did he leave and return. Therefore, Pepe in the director's heart is a sincere humanitarian, and he does not reject the truth because of ideology. This is also the style of Togliatti and Bellinger and the Communist Party they lead. Regarding these and similar attitudes, you can refer to George Orville's "A Tribute to Catalonia" and Roman Rowland's "Moscow Diary". There are still some discerning people in the world. In this way, Pepe's return includes body and soul. Next, he is even more reluctant to be swayed by ideology and try to do things with conscience as much as possible. After the war, he experienced the death of his father, the rebellion and growth of his children, and reconciliation with his friends. Fortunately, he did not become Paul Kochakin in the end. On the outskirts of the mountain, he was finally able to hit three towering boulders in succession with a small stone, but he could not get rid of the snake that had been fettered for a lifetime. In the distance, his hometown is still as noisy as usual, where there are his relatives.
Three, gossip time.
One is Pepe and his residence. Around the middle of the film, he has a police neighbor. One was a restless opposition party, and the other was the so-called "violent agency." The two went out together, nodding their heads together, their wives watched together, and the two gentlemen beat each other and were injured together and sent home together. What’s more interesting is that, at least for a period of time, the heads of the Catholic Democrats, the rivals of the Italian Republic (the long-term control of the regime), are all in the center of Rome. They are only one square away from each other. They happen to be two neighbors with Pepe and civil servants. The distance from home is similar.
The second is the problem of killing cattle. There was a bull-killing scene in the film, in which the old man gave Pepe's wife fresh cow blood to drink. As a result, this terrifying scene aroused protests from several animal rights organizations. The director and Medusa Pictures defended that they wanted to use computer synthesis, but they were unsuccessful before they went to the slaughterhouse in Tunisia (where the film was filmed) to shoot, and that this addicted cow was slaughtered daily. And definitely not to die for [Baaria]. Speaking of computer-synthesized animals, think about [Wolf's Disaster], the team is pretty good, but the final result is just unsatisfactory. A negative example is that in the excellent domestically produced patriotic TV series [Da Zhai Men], a large horse was buried inexplicably. It is unknown whether the film crew responded to the doubt. Another positive example is that the violent dogfighting scenes in [Love is a bitch] are very reasonable. They are all high-tech, and there is absolutely no dangerous close contact between the brothers and dogs in the film.
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