As the finale of Sokulov's "The Essence of Power" tetralogy, Faust in this film compares favorably with three other real people who fell from the peak of power—Hitler in Molokh, Lenin in "Tarius" and Emperor Hirohito in "The Sun" was also a gambler who lost the most important thing in his life.
Sokulov's Faust is a thinker, idea king, conspirator, daydream driven by simple natures - food, sex, greed;
He's a sullen, power-hungry creature—
Why can go further, but still want to enjoy this moment?
Farther and farther, one-hearted.
Goethe had already identified the archetype of the devil: "The unhappy man is dangerous."
What color is the world where great spirits are born? What's the taste?
"Faust," directed and written by Sokulov, is not an adaptation in the usual sense of the first part of Goethe's poem of the same name, but an interpretation of the spirit of the classics.
In order to adapt this imperial masterpiece into a film of more than two hours, the director only retained the main line of the original work and kept the dialogue concise.
Sokulov has always admired German culture very much, and this time he invited experts in the history of German literature to translate the Russian script into German, and insisted on shooting in German.
The video style of some of the clips is clearly drawn from early 18th century German Romantic painters such as Caspar David Friedrich.
The most heart-pounding scene in the film is nothing short of a romantic painting:
On the edge of a still water, Margaret pondered in a low voice. Faust approached slowly and hugged her from behind; before Margarita let out a sigh of surprise, the two embracing figures disappeared into the beautiful ripples on the lake. Actions and scenes are designed to be minimal and natural.
The film also uses quite a few wide-angle and filter lenses, and at first glance I thought it was screened in the wrong format.
Especially after entering the second part, the color of the image changes from simple and gloomy to gray-green gloomy. It is said that it was the result of a special survey on the color preferences of Germans before the shooting. However, it may be due to budget constraints and limited special effects shots, and some strange imaginations of the original work could not be reproduced. For example, in the poetic drama, Mephistopheles turned the black coat into a floating cloud and carried Faust around the world. In the film, it was changed to enter the underground secret passage.
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