The celebrity-level swindlers
Auguste, Roberto and Picasso are three swindlers. They disguised as missionaries and went to remote countryside to use the ignorance and greed of the farmers to defraud them of their money. Their most successful and most unethical part is that they can deceive an otherwise wealthy farmer into ruining their fortunes. In the end, the farmer thanked them sincerely. But when they return to the city, they are like the homeless people on the margins of society. They are despised by wealthy smugglers and drug dealers, and they must always be vigilant against the tracking of those who have been deceived. The actor-level liar Auguste is the leader of these three people. He has a rich experience in the rivers and lakes of his old age. His eyes are kind and wise, and his voice is low and gentle. He is not so much a liar as he is an actor who understands life as a play. Whether it is the bishop's black robe or the official's windbreaker, it fits on him as if it were on him.
Woman save man
From the fact that scammers disguised themselves as priests and deceived, it is known that the saving power for men in Fellini's movies does not come from religion. It is Fellini's expression from beginning to end that the slutty woman saves the fallen body of the man, and the holy woman saves the fragile soul of the man. The innocent Elis leads her husband Picasso to leave the fraud gang and return to normal life. Auguste met his grown-up daughter Tricia in Rome, and the guilt of abandoning his wife and daughter became an unavoidable burden for him. He asked his daughter to watch a movie together, but was recognized by a former deceiver. In front of his daughter, August was taken away by the police. This scene is easily reminiscent of the classic scene in "The Bike Thief" where the son saw his father steal the car and was scuffled by the crowd. I remembered that my daughter needed a large deposit to complete her studies, and after being released from prison, August again embarked on a journey of deception.
August's triple scam
August saw that this farmer had a daughter with disabled feet and had mixed feelings. What made him even more chilled was that when he was ready to leave, the daughter of the farmer cried and screamed and took the fat hand to ask Auguste to pray for her. Auguste had to recite the scriptures for her alone. Finally, Auguste divided the spoils and told his comrades that he couldn't bear the deep-fried torture just now and had already returned the money to the farmer's daughter. The other scammers didn't believe it, and fought with him. August was knocked down on the ground and his back was injured and unable to move. The scammers found all the cheated banknotes in August's shoes. August was abandoned by them and died alone on the edge of the cliff. August deceived the farmer family, his accomplices, and the audience. Thinking of the way he was leaning against the wall with a frown when facing the farmer's daughter just now, I can't help people to admire the liar's really good acting skills. But no one would condemn August, because he understands his reasons and difficulties. A pre-forgiven deception, a pre-allowed lie, this is a reality that is more realistic than reality. Fellini finally understood that what he really desires and is good at expressing is the psychological reality of human beings, which is born with human beings. The loneliness that comes. At the end of life, August's desperate cry for help, but the loneliness that was ignored, is it familiar to make people cry.
Fellini and Neorealism
Bazin said that "Night of Kabylia" shows the end of realism. The "Liar" is Fellini's last glimpse of neo-realism. Between the world and the earth, the puffins fly freely. From then on, Fellini went to another world, a world where dreams and memories flew together, and poetic transcendence. Fellini never admits that he is a neo-realist. He even pointed out that the production methods and aesthetic pursuits of neo-realistic films were forced out by the extremely limited cost of film production at that time. But after all, he is one of the screenwriters of the masterpiece "Rome, the Undefended City" of neorealism, and a filmmaker who has been nourished and grown up by neorealism films. Fellini's later film style was called poetic realism by Gil Martini. It can be seen that no matter how ethereal and coquettish Fellini was afterwards, realism has already melted into his blood. This is a fact that he cannot deny. Fellini is like this, he is a duplicity liar.
==================== Discuss the dividing line of Chinese martial arts exchanges Western movies ====================
New realism : It was a film movement that arose in Italy after the Second World War. The reason why it was called neorealism was to distinguish it from the realism of the 1930s before the war. By analogy, it can be called orangutan realism when Italy starts a wave of realism again. To put it bluntly, the creative method and film style of neo-realism is just one sentence, “tell the people’s own stories.” Those who often watch Eastern Space and Time know that they pay attention to the lives of ordinary people in contemporary society, focus on real scenes, and focus on real aesthetics and use them as much as possible. Non-professional actors are the basic characteristics of neo-realism that can be proved by the same reason. Rossellini's "Rome, the Undefended City", De Sica's "The Bike Thief" and De Santis' "Rome 11 O'clock" are representative works of neo-realism. Although Neorealism lasted only a short period of seven years from 1945 to 1951, its influence has spread all over the world.
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