Political propositions are the eternal scars of Coo's films The
political propositions are the eternal scars of Coo 's films. The past events about the country being ravaged by various powers and finally torn apart are still the main background and theme of this film. In the first half of the movie, before the truce was announced, the gunfire and bombings everywhere created a noisy, chaotic and crazy atmosphere. The hysterical madness of the female supporting cast can be said to be a response to this environment, to the fact that life has entered wanton squandering and burning. situation. In the carnival dance of the Slavic peoples, "war is Big Brother's drug, only war can relieve his addiction, and there will never be peace with Big Brother" can be said to be a wanton and explicit expression of Eastern Europe's dissatisfaction during the Soviet rule. However, although Big Brother suffered such accusations, he still left the group of people who accuse him to welcome "peace". But in the end, under the guise of "peace", this piece of land without autonomy suffered massacres and removals from distant powers, under the sophisticated and destructive weapons of various developed capitalist countries, A land that had struggled to maintain its idyllic beauty during the war was scorched, dazzling and terrifying. When the commander contacted the headquarters, he said that "the bugs have been wiped out."
The land of magic and reality is full
of animals in Cu's films. Kusturica seems to have as much love for animals as I do, and animals of all kinds always dress up the film as a circus and are shown out of love, not necessarily functioning as a narrative. Or the narrative function played by animals is "that's love". Except for the haunting serpent, the other animals seemed to be real animals. A question arose: How did Kusturica train the animals to participate in the show? The peregrine falcon, the donkey, the little snake drinking milk, the chicken looking in the mirror, the dog under the cherry tree, and the butterfly flying in the well, all of them are surprising and cute.
Land was also involved in the film's performance. The torrential rain that hysterically left the female supporting cast with a high fever, the hurricane and lightning strikes that the hero and heroine brought assistance when they were on the tree, the waterfall that jumped into when escaping in the water, the irresistible hurricane on the rocky ground when the couple was chased, whether it brought bad luck , or to help, the natural environment plays an important role.
The expression of this magical reality not only combines the local cognition of nature, but also explains Kusturica's love for the land where he lives. Of course, in the greatest sense, it achieves the director's consistent carnival temperament.
Love: Chagall's Trapeze and the Sad Ophelia
From the movie's poster, love - the love on the tree is the most important theme. The scene where the two were blown by the wind and rain on the tree seemed to be the most romantic, and finally jumped into the sky and hid in the beautiful reeds to achieve a moment of relaxation and joy. Then, escaping the pursuit in the reeds and jumping into the waterfall, the two once again got the opportunity to kiss in the air. Everywhere is like the love floating over the city in Chagall's pen. What is even more suffocating is that every time they think they can live a happy life, they begin to be hunted down by a new round of fate. The executioner of a beautiful love and a happy life follows him like a ghost. Hopes rise and fall again and again, making people feel the pain of being stifled by beautiful things.
Kusturica's love for "love" seems to be unprecedented.
For Monica, the wedding dress that almost sent her to the warlord's new house was naturally a binding existence, so that when she was free, she ignored the beauty of the wedding dress and threw it into the river, abandoning it like a shoe . The sign of the wedding dress in the river foreshadows the tragedy of Monica's eventual death, which is reminiscent of Shakespeare's Ophelia who drowned. The sadness of this beautiful passing away is actually thrilling in the clear river water and the green water plants.
Fairy tale: A soul
that never yearns for a beautiful land in a dazzling land This movie is not necessarily a feast for the narrative, but it is definitely a feast for the eyes. This land is as beautiful as a fairy tale, no, it is a fairy tale as beautiful as this land, just like the hero's expectation of love.
different directors seen in this movie
At first, the eyes and flying posture of the peregrine falcon reminded people of Julio Mitan's "Anna in Troubled Times", the tree climbing, the floating wedding dress and the flying colorful phoenix reminded people of Jiang Wen's "The Sun Also Rises", The ascetic practice of monks tying stones to their bodies and walking hard is reminiscent of Kim Ki-deok's "Spring, Summer, Autumn, Winter, and Spring".
Love is like an endless white stone that will not give up as long as it is alive.
Perhaps the wanton and enthusiasm for love that has never been seen in Ku's films is the most valuable thing about this film.
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