In the second half of the night in 1917, there was a fireplace burning underground in the burning French town of AgustaWestland, and a steam lamp was lit, and a pair of women and babies who had just met were alive. The British corporal pierced through the broken wall, broke into the underground hearth from the sea of fire on the ground, speaking in bad French, and asked the woman whether the land under her feet was Agusta.
I was sitting in a messy American epidemic prevention and control site. The breeze was blowing outside the window and the sun was shining. In my vision, there were a few white-tailed deer strolling in the forest. This is the time when spring is coming, and the sense of crisis that animals cannot feel is being helplessly digested by all people living in the present. The new crown virus, the black swan that spreads its wings and covers the world, has finally shaken the psychological defense of Western society.
I just talked about the epidemic with my mother in the morning, and we had great disagreements on the difference between China and the United States. I admit that from the perspective of preventing the spread of the epidemic, China's national system has indeed played a great role, but because professional information channels were blocked in the early stages of the epidemic, more victims became a price: the corporal in the movie had to save a thousand. Six hundred people, our official death toll from new coronary pneumonia has so far exceeded three thousand.
On the other hand, the United States, which is open-minded but unable to replicate the nationwide system, has only just begun systematic prevention and control because of the tedious bureaucracy and the deliberate avoidance of the presidential team. With the gradual improvement of the domestic epidemic situation, the four words "system self-confidence" seem to have collected the latest arguments.
Watching 1917 at this time, I can't forget the fire under the ruins. Like Peter Jackson, who filmed "They Are No Longer Growing Old," director Sam Mendes found narrative inspiration from his relatives, and the effects he produced are better than those of "Parasite "It is closer to the famous Martin Scorsese saying: "The most personal thing is the most creative." Mendes and the photographer Roger Dickens used the illusion of one mirror to the fullest to express the protagonist’s loneliness to the greatest extent: from the beginning of the two-person walk to himself in the latter part of the film, the corporal walked by for two days and one night. The path, the blood shed, and the tasks on his shoulders have nothing to do with ideology, and have nothing to do with the huge and vague hatred between Britain and Germany. The message conveyed by that lens convinced me, because I knew that any grand narrative and ideological differences could not conceal the real reason why this man persisted in the end-the friendship between life and death between him and another soldier.
In order to keep the promise he made to this friendship, he did not hesitate to crawl out of the trenches and ran to the left alone when the army charged forward . Friendship is the fireplace under the ruins, and his promise is the fire.
He was talking with the woman by the fire, but his language was not clear and his tone was gentle. His body was exhausted to the limit, but after seeing the baby, he left all the supplies and fresh milk on his body to her who had never been acquainted with. This wonderful fate transcends the story of the Virgin and the Holy Child and returns to the root. It is the vitality and compassion that survived the ruins, warm, strong, fragile, and simple.
As the corporal fulfilled his promise, Mendes filmed Li Bai's sentence "Fighting to death in field battles, and screaming to the sky for defeated horses; birds and kites pecking people's intestines and flying on dead branches." In the era when the Yue Party converged against differences, the sea of fire, ruins, rotting crows, and floating corpses on the spring bank in 1917 reminded us to love each other and not to be easily engulfed by the "great march". Because great marches are often blind, just like looking back at the First World War, scholars often compare the "sleepwalkers" to several major countries that participated in the war: sleepwalking, nightmare, and dreambreak.
After the march, even if ordinary people do not die, Li Bai's fate of old age is unavoidable. He stood on the wrong team at the end of the Anshi Rebellion, and he was saved from death by the begging of the general Guo Ziyi, whom he had made in the past year. After being convicted, the old poet traveled to Wusong Mountain and stayed overnight in the houses. The village women gave him food. He was ashamed of what he had encountered, and rarely reduced his pride. After thanking him many times, he was ashamed to not eat:
"I stayed in Matsushita five years ago, and I was lonely and unhappy.
Tian Jiaqiu is bitter, and the neighboring daughter is cold at night.
Kneel into the carved rice, moonlight plain plate.
It's embarrassing to be a mother, thank you for not being able to eat. "
This is the cruel truth before the waking man after the great march.
View more about 1917 reviews
