It took three years for Tona Tore to film "Baaria". He told a family legend through decades of historical changes. From the constantly renovated neighborhood scenes to the huge scenes with many people, the director was desperate. In his words, the film focuses on the ups and downs of political movement, which is clearly the opposite of the coin, which is the "Paradise Cinema", which is obsessed with light and shadow film. At certain moments in the middle, the audience will naturally think of "Paradise Cinema" and "The Beautiful Legend of Sicily". The characters and scenes are surprisingly similar-Monica Bellucci appears briefly for a few seconds.
The film opens with a magical reality like Fellini, a child running fast, the camera retreats quickly, and the daily life of the people of Baaria appear in the background. The child flew up, and suddenly the picture fell into another time and space in the next second, and the protagonist Torunova appeared. He was a goat-husband who didn't recognize a few characters but dared to act, and he had to make a name for himself. First was the fascist rule during World War II, followed by the landing of the Allied forces and the arrival of American troops, the rotation of party elections to the socialist boom. Fascism fell, and everyone rushed into the city hall, taking what they needed, and even the door panels were demolished and carried away. It seems to be vigorous and lively, but the people here seem to be unaffected and enjoy themselves. In the previous paragraph, Torunova and his father were humiliated, and in the next paragraph they seemed to have nothing to do. It seems that their next generation has changed, but it can't be said to be earth-shaking. They can live as they please. Seeing birth, old age, sickness and death, talking about emotions, anger, sorrow, and joy, is human nature. The big voices and exaggerated expressions unique to Italians, the humorous comedies that can be seen at random in life, such as the icon of the poor, all these make "Baaria" look extremely cheerful and full of inexplicable optimism.
Because of this, "Baaria" actually doesn't have a complete story, there are fragments of life scattered everywhere. There is only the flickering pleasure, there is no climax in the traditional sense. Some characters are fleeting without paying attention, making it difficult to put emotions into the movie and fail to keep up with the emotional rhythm. It is undeniable that the big reason why Tonatore appeared in "Baaria" is related to politics, and the content of this film is very boring. Most people want to see true feelings, nostalgia, and homesickness. They are not exclusive to politics but they will not like it easily. The poorest part is the soundtrack. Morricone’s music is full but not sound. I don’t know if it’s not well coordinated or played poorly. Anyway, it’s a bit cumbersome.
Tonatore must miss "Paradise Cinema" very much, and he was followed by countless awards in his early thirties. Since then, he has never truly surpassed himself. "Baaria" says that life is nothing more than that, but he still wants to go back. Only at the beginning and the end, I can see that Tonatore really wants to save something. He hopes to turn back time and keep the style of Baaria in mind one by one. He made the illusion of a dream of Huang Liang, and let the character travel through time and space to find the shiny earrings under the floor. Torunova and Little Torunova pass by on the road, the exquisite circle form, the cracked spinning top, this is life. 【Wealth Management Shanghai Magazine Column】
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