" Life is like a drama, drama is like life"
The highest level of film art is to record life truthfully. Fellini said: "The frame is like a window, and the audience peeks into other people's lives from the frame." The audience observes the life of the people in the film from the perspective of a bystander. , and the director is to maximize the power of this window, let the audience into the play, and let the characters play. This is the fee theory. The film's point of view is set on such a group of people, a group of children who do not want to grow up, but they do not hesitate in their 30s. For them, life seems to be nothing but enjoyment and taking.
In the 1950s, Italy experienced artillery fire and wind and frost, and was devastated and idle. The sluggish economy and Rome's innate night-time sing-song gave birth to such a group of young people who spend their days doing nothing, planning these impossible dreams one by one. Director Fei referred to the people who lived in Italy at that time and hoped that the audience would get to know that group of people who were gradually forgotten.
In this lonely and decadent marginal town, run-down depression is like a dirty rat hole. The former boy tap danced on the post-war ruins. Time flies, that young man is no longer a young man, and they are almost thirty years old, but they can't get out of the happiness that makes them linger.
In the film, Faust learned that he had made his best friend Morad's sister Sandra pregnant, and the first thought did choose to escape, just like a person who has just woken up from a big dream but is reluctant to walk out of the dream, it is indeed wonderful Happy things are addictive, people always tend to be comfortable and happy, and try their best to avoid setbacks and hardships in the world. In fact, everyone in the world is a prostitute, and life is just a dream.
Reality is like a basin of cold water, pouring out the dirt of the mundane world; responsibility is like a raging fire, burning down the splendid glitz. Alberto learned that his sister was overwhelmed and left home, and he must take up the responsibility of the family; Faust was fascinated by Qin Muchu, and only after losing Sandra did he realize the value of love; Leopoldo devoted himself to art, but was full of fear when he became famous . People always have to grow up, and growing up is not only a responsibility but also suffering. Before filming this film, Fellini suffered the successive failures of "The White Chief" and "The Spring and Autumn Festival". Here, it is not only the growth of the characters in the film, but also the growth of Fellini himself. The success of this film also allowed Fellini to continue his directorial dream, and also allowed Fellini to carry forward the film.
The youngest Morad likes to wander the streets alone in the middle of the night, wondering what? Consider what? This is the most attentive part of Director Fei in the film. In this scene, he specifically gave the audience a little space to think. Is this kind of life correct? Should life pursue happiness or accept suffering? The audience seems to be thinking with Morad in empathy at the moment. Fellini inserts a dialogue with the railway boy with ulterior motives. The dialogue is short but every word is heartfelt. It may also be that the encounter with this child made Morad make a choice. Life should be bitter, bitter and real. It is a testimony to the verse of the Japanese poet Osamu Dazai: I was born as a human being, I am sorry.
At the end of the film, Morad gets on the train away from home alone in the early morning, followed by a set of contrast montages, comparing the four people in the dream with Morad, Morad will be The first person to wake up. "It's like a dream, like a bubble, like dew, like electricity." It was time to wake up from the beautiful dream before, and when I woke up, it was the tears of a teenager.
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