Ⅰ
"Gone with the Wind" is a prose-like poem filmed by Iranian director Abbas Kiarostami in 1999. The film is very delicate and there are some very interesting details in every scene. These Although the details are outside the main line of the story, they give the movie a richer texture. For example, an apple rolling on the ground, a cockchafer rolling a ball of dry dung, a tortoise crawling slowly, and the chickens, roosters or hens that can be seen everywhere in the village, as well as young chickens. Some of these details are carefully conceived, and some are accidental.
The story of the movie is that a group of people came to a mountain village. They came from Tehran. Hearing that an old woman was about to die in this village, they drove a long way to prepare for the funeral. This mountain village is in an area that still retains many ancient customs. One of the terrible customs is that people will self-mutilate their faces at funerals. While waiting for a person's death, they tasted strawberries, apples, tea and milk in the mountain village, as well as the wind and soil blowing from the wheat fields.
The narrative of the film is very prosaic, and it is not easy to generalize its theme and define its style. If you have to define the characteristics of this movie, you can think of it as a movie about "insight." The main content of this movie is the protagonist's delicate observation. It is like a first-person narrative novel. The protagonist mobilizes all his curiosity to observe, listen, perceive, and experience from a limited perspective.
The protagonist of "Gone with the Wind" is the engineer Baza, and the actor who plays him is very distinctive. He wears a pair of round glasses, and his shoulders are tall like an eagle. The whole movie can also be seen in Chengdu is his observation. He is a person who has been observing carefully. His eyes have been flashing behind the glasses, very alert. There are several close-up shots that he observed attentively in the movie. Every time the close-up is taken, the camera will move to his position to continue shooting. The camera looks like his eyes and captures what he sees. There are many such subjective shots in this movie, and whenever he observes attentively, the movie screen will have a touching feeling.
In this movie, in addition to the subjective shots taken from his perspective, the shots taken against him can also be seen as part of his self-awareness, just like a person standing opposite himself and observing himself in his imagination. , Observe your own soul.
There is a very interesting scene in the movie, that is, he shaves directly to the camera lens, and behind him is the woman upstairs opposite, she is talking while winding the wool, running from left to right. How to understand the picture taken by this lens? Is it the picture taken by the camera standing on the mirror, or is this picture the mirror image that the engineer sees in the mirror? This is one of those very weird shots in the movie.
Many characters can only hear the sound but not the figure, or only see the back but not the face. Abbas has a special interest in the function of sound narrative. He once said: "There are many dimensions in real space, but when we watch a movie, we only see one of them: the one facing the camera. The sound outside the screen reminds us that there are other dimensions, and these It’s what we can’t rely on what is presented on the screen... The sound outside the screen proves the fact that when we close our eyes, the world is still moving.” He was ingenious here without deliberately doing it, Cain The hidden, the manifestation of nature also makes them manifest, completely indifferent. As he likes a Buddhist motto: Wisdom never shines.
The films directed by Abbas are basically documentary-style documentary films, but "Life and Growth", "The Taste of Cherry" and this "Gone with the Wind" were shot in the first-person narrative style, and like "Close-up" ", "Where is My Friend's Home", "Lover under the Olive Tree" are third-person narratives. In the former, the story has a protagonist, and the camera is like the eyes of the protagonist; in the latter, the camera does not rely on a person's perspective to present the image, the camera is beyond the outside world.
Although the film also used a lot of subjective lenses at the beginning, it did not make people think that it was a very special film. The lens that really brought the audience into the observation mode was after the film was shown for 20 minutes, the photographer came A teahouse in the village. When he sat down and was reprimanded by the proprietress, someone outside the screen stopped and quarreled with the proprietress. At this time, he began to look back and forth, and noticed that there was an old man sitting on the opposite side who was also observing back and forth. After that, the wife and wife started quarreling on both sides, and he began to observe them both back and forth. He took out the camera, and the wife did not let him take pictures outside the screen. Then the old man was called away, and his eyes moved with the old man. Finally, he chased him out, and he forgot to take the camera. This scene constructed with two dimensions of sound and picture has a strong sense of three-dimensionality, and the logic or sequence of its construction is entirely based on the attention of the engineer. Later, the attention of engineers became the basis of sound and picture editing and photography creativity.
Ⅱ
The content of this film is the process of a person slowly observing and getting acquainted with this strange mountain village, just like an awakening of consciousness.
It often reminds me of Peter Heisler (He Wei)'s "River City". This book describes the process of an American who came to Fuling, Chongqing to become familiar with an unfamiliar mountain city. It is also a process of consciousness awakening. This process is very interesting, there will be a kind of natural modelling, some themes will reappear, and the whole connotation of oneself will be unfolded for the first time. People who were only one-sided before slowly became friends, and some strange doors opened to people, revealing its originally mysterious internal space.
Every day, engineers go to a high cemetery to pick up cell phones, because only there is a signal found. There is a man in the cemetery digging a hole. He has not shown up like the old woman, but every time the engineer goes to the cemetery to call on his mobile phone, he will speak to him. For the first time, he said that he "worked alone", which made the job easier, if the engineer agreed, because his own three colleagues did make the job complicated. The second time, a girl in red suddenly crawled out of the pit and ran away faster than a shy rabbit. The engineer made fun of the digger, saying that "working alone" is tiring, but it is more advantageous, because "working alone" is not disturbed...Finally, the digger was buried in the soil because of the collapse, if it weren't for the engineer It just so happened, he must be finished. This incident puts forward a new view on the issue of "working alone", that is, digging a hole alone can be very dangerous!
The person who digs the hole is called Yusuf. He is as innocent as his sixteen-year-old girlfriend. This is clearly shown in the dialogue between them and the engineer, and the innocence of the two of them contrasts with each other in the movie. When engineers complain about difficulties in their work, it would be nice if they could also handle it with a pickaxe. He said: I can get you one if you need it! The engineer said he didn't want that kind of pickaxe. Later, when the engineer went to his girlfriend's house to find milk and read a poem to her, he asked her if she knew Furu. She said: Yes. He asked: Who? She said: Gao Ha's daughter. The engineer said that he was not talking about this Furu, but a poetess.
The dying old woman in the village has already lived a hundred years old. Her son, an old man with a cane, stood by her door every day. People in the whole village took turns to give her soup to drink. This is a custom in the village. If she drank some other soup, her wish would come true. The engineer has been inquiring about her, but she is totally unsure of what's going on. She sometimes drank the soup given to her by the villagers and sometimes didn’t drink it for a few days, so it was impossible to tell whether she was unable to eat because she was dying, or simply disliked it. soup! But in the end, after drinking some pills (also a soup) that the doctor prescribed for him, she finally passed away. There were always two pairs of shoes in front of the attic where she lived, but now they are full of shoes.
Of course, the engineer liked the little boy in the film very much, but he liked to tease him so much, he likes to talk irony, and finally offended him and lost his trust. This process may not make much sense but it is very interesting, although unfortunately. This little boy has the simple qualities of the village residents. He is very honest and takes life very seriously. Many films directed by Abbas focus on children and young people. In his films "Where is My Friend's Home" and "Let the Wind Take Me Take Off" (screenplay), children treat life more seriously than adults.
Ⅲ
Engineers like poetry very much. At the beginning of the film, when they drove to the small mountain village hidden in the mountains, they saw the sparse trees beside the road, and he recited a poem: "Beside the trees is a wooded path, the green is very beautiful. Too fairyland."
When he was walking in the alleys of the village with the little boy who greeted them, he heard that this very beautiful white mountain village was named Heigu. He remembered another poem: "When you unfortunately become muddy... "The little boy said, "...Even holy water can't be cleaned." This surprised the engineer. Perhaps because of this, he started to joke with the little boy with irony and weird questions.
Later, in a dark basement, the pit-digger's girlfriend milked him, and her cattle were raised in a dark basement. Perhaps to avoid embarrassment, the engineer suggested to her to recite a poem by a poetess, a beautiful love poem: "...My night is full of pain, do you hear the shadow whispering? This happiness feels to me Very strange, I am only used to despair. Listen, do you hear the shadow whispering? Something is happening this night. The moon is red and anxious, attached to the roof that may collapse at any time, and the dark clouds are like a group of sad women waiting at any time When the rain came, the clouds cleared and the fog cleared, the night was trembling, and the earth stopped turning. Outside the window, there was a person worrying about you and me. You, put your hands in your greenhouse, those warm memories, in The palm of my hand, with your lips, full of the warmth of life, touch my lips. The wind will take us away..."
The last sentence of this poem is also the theme of the movie: Life is short, enjoy it when it's time to enjoy it, don't worry about the past and the future, the wind will take us away.
Director Abbas is also a poet. He has written many poems in his life, which are as short and succinct as Japanese haiku. The poems are full of keen observation and indifferent mood of life and death. He likes Hayam, the great ancient Persian poet, who is the author of "Ruby". There is a poem in "Rubai Ji":
Floating into the world, like water that has no choice but to flow,
I don’t know why, I don’t know where I come from;
Floating out of the world, like the wind has to blow,
The wind passes Mochi and I don't know where it is blowing.
This poem can just answer the famous question of life: "Where do I come from, who am I, where am I going?" Only the wind knows, and the wind takes us away by itself. Abbas mentioned the "Ruby Collection", and he commented on Hayam this way: "His quaternion is an eternal praise to life, but it is accompanied by ubiquitous death, and death helps him hold life. "
The more alert people are to death, the more alert they are to life. On the one hand, Hayam’s poem makes people aware that life is short and death is bound to come. On the other hand, he describes death very poetically. After death, people are not terrible, but they become things like dust. It may be made into exquisite earthenware pots. The attitude of people facing death is: to be alert and fearless, only in this way can we taste the sweetness of life. For people, the past is gone, only memories are left, the future is waiting but the road is uncertain, only the present can really taste. The old doctor who appeared at the end of the film, his attitude towards life and the verses he sang also expressed a similar spirit: "They told me she was as beautiful as a goddess from heaven, but I said that grape wine is better and more realistic. It's better than the oath of the mountain alliance, and the beautiful drum sound from afar...
At the end of the film, the engineer threw the dead bone into the creek, and then a serious and tragic music sounded, and the dead bone slowly passed by two lambs who were gnawing on the grass. They didn't know it, just immersed in the heavenly food. This ending also expresses the artistic conception of those poems.
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