Sonata for good people

Syble 2022-03-19 09:01:03

When Weisman, who was always in a gray jacket and old trousers, walked mechanically through a bookstore with the mail to be delivered, he saw the author's new book posters hanging on the bookstore window. After a while, he returned to the picture, entered the bookstore, and opened the book. When I turned page after page to the dedication page, it read: Sonata for Good People-HGWXXX/7. He closed the book and walked to the cash register, still expressionless and silent. When the cashier asked casually, is this for someone else? Weisman's eyes have never been so gentle, as if the spring breeze has melted the first puddle of snow in the winter, so simple, as if a little boy got his father's approval. Except for the look in his eyes, his face is still like a mask. He still said in the deep voice, this is for me. When the music sounded, the picture froze on his eternal ice face, and in the middle of the ice face was a pair of eyes full of vitality and soul in the severe winter, as if it was gradually melting for the whole winter. I watched this scene many times over and over again.

At first I didn't figure out whether Weisman was a decent villain. He seems to be an agent robot trained by the organization to have no emotions. He is always cold and expressionless, his voice does not contain any emotions, and he has no private life. The true emotions and sorrows are invisible. Putting it in life is a very boring body.

However, when he listened to the writer playing piano music with big headphones in that dark warehouse, he shed two lines of tears in the dark, and I began to wonder why; when he was in the small bar, he was well-trained Hidden in the shadow of the light, comforting the writer’s wife, the playwright, when the audience liked her performance, I was still wondering if he came to harm her; when he was buried in the arms of a prostitute but was retreated by the prostitute , I think he is so pitiful and pathetic, and has a sympathetic and cold-blooded attitude towards him; until he recorded on the typewriter that the writers were writing a play on the anniversary of the founding of the Republic, I was sure that he might be a flesh and blood. Soul, a hot and restrained soul hidden under a stylized cold mask. Perhaps his long dusted heart was touched by the passion of the writer, or he was an agent with an unshakable conscience. His feeling of liberating, moving, and forbearing joy).

This actor is so impressive that he can tell a moving story with his eyes alone. Especially when Christina actually confessed to the location of the typewriter, his eyes seemed to be shocked, sad, resentful, and regretful, as if yelling: How can you tell? How can you say it? You are his favorite lover, how can you betray him? But his feelings are always revealed in an instant. He still completed all the interrogation procedures blankly. And the time when his feelings were most expressed was when Christina couldn't bear her betrayal and she rushed to the road and was hit by a big truck. Weissman knelt down, as if to cry, and murmured that I had put the typewriter on. Take it away, I have taken the typewriter away, he will be fine... Maybe the audience is expecting him to hold the woman and cry, and vent all the pain and secrets they have been carrying, but when the writers arrive He just stood up silently and retreated to the back, finishing his clothes, regaining an ice cube face, and left with the police officer.

When the writer opened the file that recorded himself many years later, he was shocked to find that his favorite woman had signed a pledge to monitor and report his actions. He was even more shocked to discover that he had contributed reactionary articles to West Germany. Such a big storm could not find any clues in the monitoring records. He kept seeing the code name HGWXXX/7. The scene that impressed me was that the assistant at the front desk looked for the code name among piles of cards. Those cards were so small and so many that it made people think that such a great thing as life can only be a code name, a forgotten one. Corner card.

I once regretted why the writer obviously saw Weisman from a distance but did not go up to express his gratitude. The hero who once saved his life and saved his creative life, now in the cold wind, the family has to send emails and will continue Vote for 20 years. In a certain sense, he used his own life to save another life, exchanged his nirvana and blooming life with his shrewd future, and used his own life to pave the way and burn the lives of others. Lives of others.

It wasn't until 4 years later that the author wrote the book: Sonata for Good People. I think this is probably the most perfect, deepest and most extraordinary thanks.

I thought it was a spy drama, or a story about betrayal and betrayal, but it tells that even in such a harsh and dark environment, the great brilliance of human nature is still shining.

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Extended Reading

The Lives of Others quotes

  • Hauptmann Gerd Wiesler: Madam?

    Christa-Maria Sieland: Go away. I want to be alone.

    Hauptmann Gerd Wiesler: Madam Sieland?

    Christa-Maria Sieland: Do we know each other?

    Hauptmann Gerd Wiesler: You don't know me, but I know you. Many people love you for who you are.

    Christa-Maria Sieland: Actors are never "who they are."

    Hauptmann Gerd Wiesler: You are. I've seen you on stage. You were more who you are than you are now.

    Christa-Maria Sieland: So you know what I'm like.

    Hauptmann Gerd Wiesler: I'm your audience.

    Christa-Maria Sieland: I have to go.

    Hauptmann Gerd Wiesler: Where to?

    Christa-Maria Sieland: I'm meeting an old classmate. I...

    Hauptmann Gerd Wiesler: You see? Just now, you weren't being yourself.

    Christa-Maria Sieland: No?

    Hauptmann Gerd Wiesler: No.

    Christa-Maria Sieland: So you know her well, this Christa-Maria Sieland. What do you think - would she hurt someone who loves her above all else? Would she sell herself for art?

    Hauptmann Gerd Wiesler: For art? You already have art. That'd be a bad deal. You are a great artist. Don't you know that?

    Christa-Maria Sieland: And you are a good man.

  • [Wiesler enters the elevator at his apartment building. A young boy with a ball joins him]

    Junge mit Ball: Are you really with the Stasi?

    Hauptmann Gerd Wiesler: Do you even know what the Stasi is?

    Junge mit Ball: Yes. They're bad men who put people in prison, says my dad.

    Hauptmann Gerd Wiesler: I see. What is the name of your...

    [pauses]

    Junge mit Ball: My what?

    Hauptmann Gerd Wiesler: [thinks for a few more seconds] Ball. What's the name of your ball?

    Junge mit Ball: You're funny. Balls don't have names.