No matter literature or film, the plot of the story is not the most important, the important thing is the process of expression, the pleasure of narration. Literature uses language, and movies use pictures. An inescapable pleasure. One needs to be experienced with the tip of the tongue, the other needs to be experienced with the eyes and ears, and in essence, the brain is inducted with all or part of what the writer of literature or film wants to express. Authors and directors use literature or movies to create a carrier of pleasure, packaging, sealing, readers and audiences to open it, the fresh smell wafts out, the brain begins to sense, recall or imagine, to obtain pleasure. Chewing Günterglass's words with shapes, colors, sounds, smells, and reading Schlondorf's paintings of images with passion and literary meaning with eyes and ears, get the same but different pleasure.
Words have infinite imagination, and the intuitiveness of images partially obliterates the pleasure of this imagination, and replaces it with a splendid figurative picture. Stolonf has successfully reproduced the scenes and artistic conceptions in the original work with beautiful and meaningful pictures, but this kind of visualisation also weakens the spirit of the original work to a certain extent. For a film that is completely faithful to the original and a relatively successful adaptation, it may be more meaningful to explore the ethos of the original.
Oscar, a child who voluntarily interrupted his growth at the age of three, is too easily reminiscent of another child who does not want to grow up - Peter Pan of the Isle of Nothing. They reject adult society with a child's superiority and cynicism, and refuse to become that kind of person. However, Peter Pan was a child from beginning to end, and his rejection of adult society was based on a child's intuition and instinct, while Oscar was only a child. Maintaining the height of a three-year-old child, he has a mature soul that surpasses adults, and this soul has never stopped growing in a deformed body for thirty years. He is out of tune with this society because he transcends this society, and the soul in this deformed body is so awake, always watching the world with three times the wisdom of adults. Sobriety is always painful, and if the whole society is not at fault, then you are at fault. There is nowhere to hide, no way to escape, only to forget in the game, only to use the game to save. The whole world is just a big playground, adults are more ridiculous than children, and children are crueler than adults. When the movie progresses to a group of kids pouring pissed toad stew into Oscar's mouth, can you say that this is a normal and beautiful world? Oscar, who is talking to himself, is only beating a funny drum to himself, save, or forget. There is only one way.
The novel is narrated by Oscar's own narration, so the film justifiably expresses his narration in the form of voice-over. However, the film still maintains an objective narrative. It's the director who tells us the story, not the Oscar who narrates it off-screen. In contrast, the author of the novel and the narrator in the text are one. What the author shows us is what Oscar has seen and heard. The story takes place from Oscar's subjective perspective. In the off-screen narration, he is still the object of the director's camera, and he and the object he narrates are the director's narration object. Therefore, in the novel, we can clearly feel Oscar's inner activities, while in the film, This crazy story is more calm and objective. Without a reasonable inner explanation, many places have lost the impact of the original work. Take a visceral look at Oscar's bizarre behavior, or we can get a better answer.
Let's try to forget about Peter Pan, maybe we should remember Hitler with admiration. Hitler used concentration camps to construct his ideal society (even if this ideal society was hell to others), while Oscar hid behind hundreds of smashed tin drums to keep for himself a piece of purity that was different from the dark society outside. land. They all resist the existing society, they all possess superhuman wisdom, they are all followers of Nietzsche, they believe that they are the almighty Lord, they believe that they are right, they say that others are hell, and they all have the Germanic nation in their veins. blood. Concentration camps and tin drums were the same, Hitler and Oscar were just one person, just as God and Satan were one person. The only difference - Hitler's defeat and Oscar's victory - Hitler thought he was the world, Oscar insisted that the world was himself. If it's too loud outside, I'll just forget it with my drums - all I can hear is my drums, the world's only my drums. Oscar won't change everyone, but he uses a toy tin drum around the people around him. Turning a Nazi rally into a riotous dance with waltzing drums has nothing to do with any political or moral reasons, Oscar is not a rebel, just a eccentric, this move is only for personal and aesthetic reasons . Holding his drums firmly, keeping the height of a three-year-old with three times the wisdom of an adult. Survival, or life, is not a problem for Oscar, but a dilemma.
Where is the desire and meaning of life? In the scorching palms of drool-melting sizzling soda powder, the smell of plantain is as dangerous and irresistible as the devil in a bottle; under grandmother's four large potato-colored dresses, which are rotated every week, screaming in Glasses are carved in the shape of hearts for loved ones; in the cellar where onions are chopped on small boards in the shape of pigs or fishes to induce unhindered tears of decent freedom, Jesus cannot beat Oscar's drum. The Lord is the Son of God, not Oscar's brother, Jesus lowered his eyebrows and smiled, Jesus was calm, the world was his, so it had nothing to do with him - no matter how much ugliness and deformities, the Lord would not look up, Oscar The drums hung around Jesus' neck, but Jesus never struck.
The film only adapts the first two chapters of the novel, and ends when Oscar buries the Tin Drum and starts to grow taller after being hit by a brick. For Oscar in the movie, life was over when the joys and sorrows of his parents’ generation ended; the train took him to the distance, leaving us with the back of the icy machine steaming away, in the potato field. The old grandmother is still working, and a completely different industrial age is coming. How Oscar lived in that era is unknown in the movie; in the novel, Oscar, who buried the tin drum, is still continuing his predicament. Smile or tear, scream or break, who is despising who who is jealous of who, who loves who who hates who, who loses who who hurts who, who is the father and who is the mother, who delivered and who buried who, the Nazi army song Cheerful, the songs of Black Chef are cheerful, Oscar's drums are cheerful, everything is unknown, everything is known. Happy so painfully.
All suffering ceases to be suffering after repeated experiences, just as prosperity ceases to be prosperous after prosperity. For Oscar, all suffering is nothing but a game. Oscar describes wars, killings, betrayals, desperate loves, daggers, sweats, and the like to us like a game, but a game is a more desperate attitude than seriousness, and numbness is an ending more cruel than pain, The game is over and the world is business as usual. The purpose of the game is pleasure, or pain, in short, an unusual and stimulating experience. The drum beats give inspiration, but life takes away the inspiration of life. Perhaps, the crueler the process, the more absurd and tragic the ending. In the eyes of the Creator, how ridiculous the life and death of human beings are, and how ridiculous the world and himself are in the eyes of Oscar. Even before he was arrested and put in jail, he looked down on the escalating Interpol and said, "I am Jesus!" in German, "I am Jesus!" in French, and "I am Jesus!" in English. I am Jesus!" However, he was eventually arrested as Oscar Matzerath.
Holding a spear in the left and a shield in the right, imagining that he is the only omnipotent Lord who is omniscient, who can look down on all beings in the world with a great feeling of compassion and compassion, and say with great pity: ignorant people, I forgive you. You don't know what you are doing... Oscar can't, he only has a drumstick in his hand, screaming in his throat, weak but stubbornly fighting the world and himself. Fight alone. Even if he said - I'm just for personal and aesthetic reasons.
The world is invincible, and so is the self. Not to mention the only weapons are drums and screams. Therefore, the temptation of resisting growth, but unable to resist the privileges enjoyed by adults-the kind of anesthesia and wonder fermented by the fermented soda powder of carleaf grass, it is the sin of all madness and out of control in the future, and it is the Oscar of adulthood The drum, a gorgeous chapter in memoir, one of the few reasons to survive in this world, is sin in itself, and the comfort it gives is like the sound of a drum that isolates us from the rest of the world beyond sin.
Until many years later, when he reunited with Maria in the mental hospital, Oscar, who was addicted to the past, poured the homemade soda powder into Maria's palm again like the sixteen-year-old child many years ago, and melted it with his own saliva, "You don't remember. Do you? Recall it! Soda powder! A sachet of three fennies! Recall: plantain, strawberry, fermented, foamy, how beautiful! And feelings, Maria, feelings!"
And for many years The latter Maria was only surprised and angry, and then quickly washed them away with water.
What numbs the nerve endings of years ago is foam, maybe just foam. No emotion.
It is impossible to understand what is being rejected, what is being plundered, what is being avoided, what is being chased, what is escaping, and what is resisting, it seems that it is the one that has been tried by every possible means, so sad.
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