non-leftist speech

The director uses the story of the grandson of the landlord and the grandson of the peasant as the carrier, adding this kind of human factor (two friends) can make the audience no longer have the simple class judgment of "the landlord must be damned", let alone deny this judgment. In fact, there is a class conflict between these two friends, which confused them once, when Omo was beaten by the police and when Alfred was tried. Whether the director wants to say that they ignore class contradictions because of human nature, or whether to say: "Look, two such good buddies have to take into account their class identities", it is worth discussing. The director recorded objectively and calmly in the oil painting-like scenery and beautiful music, or was it because of his own ambiguous attitude? Is he playing the god who sits and watches the vicissitudes of life? Or is this the original intention of the director, so that everyone has their own opinions?

These parts of the trial before the end of the film and the surrender of the gun may have shown a kind of confusion of the director, at least it reminded me of the great changes and exhaustion of the country that established socialism later: what happens after the success of the revolution? The eradication of counter-revolutionaries and the Cultural Revolution, until the later change of color. However, revolution was necessary at the time, and class-to-class oppression did exist and could only be resolved by violent means. Later, when the peasants took up the gun and let the wicked die in the right place (and only taking up the gun can effectively reject the oppression), I believe that many people will feel that the oppression is released. After the revolution, most of the failures of national socialist construction were attributable to the inexperience of the internal ruling party and external pressure from the international situation (including from the Soviet Union and Western countries), which had nothing to do with the revolution at that time. When society can already guarantee the free development of every citizen to a certain extent, and can ensure that the hard-working people are fed and the evildoers are punished, what we need is not this kind of red-hot revolution. But, at the time, it was necessary. And at the time, the zeal for change made the rotten and dull bourgeoisie pale, as the film details.

That last shot was great. The blood splashed by the old François lying on the track on the side of his lifelong friend and the grief of old Omo, plus the disdain that Omo thought was a joke when the train came, these unbearable weights were taken by this young and fast train and Grumpy switch. The weight of death, the weight of a century of brewing, and the lightness of childhood, juxtaposed.

However, it is possible that Old Ferretti might switch positions in time and not die! The director played too well

After watching this film, I will summarize the four things that literary super feature films are not boring: 1. Be sure to buy a good film. 2. Be sure to ask NB for the soundtrack. 3. The role conflict must be strong. 4. Be sure to add "wake and doze" scenes appropriately - the director is afraid that, like his master Pasolini, erotica is regarded as a symbol of vitality (lower-key than his master).

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