Wim Wenders' "Pina" is undoubtedly the most popular film at the Shanghai International Film Festival The two shows were arranged in the largest theater, and the tickets were still sold out early. An art film, and an art documentary can gain such popularity, but it borrowed the most popular 3D gimmick of commercial films. You must know that because 3D has increased the ticket price, the total box office of the entire EU region last year was still lower despite the decrease in the number of moviegoers. to new highs. However, in the case of technical gimmicks, abstract modern dance, zero narrative that deviates from movie viewing habits, and even Pina, as the title refers to, is almost absent from the video, such an art documentary has still become an extremely popular medium in the new era. Eye-catching artwork, among a group of dinosaur-level stubborn European art film masters, Wenders was fortunate to be the first to find the pace where art and technology dance together, thus standing out and guarding the art territory in the blind 3D trend. I even want to compare Wenders' "Pina" with his old friend Antonioni's "Red Desert". If the latter is the first color film with artistic significance, then the former may also carry artistic light. 's first 3D movie.
3D, turned the screen into a theater
cart and dumped the not-so-thick soil. Under the weird sound, a memorial ceremony was underway, and the faithful men and women paced toward the unknown power. The sound field stirred, and female believers were thrown from the crowd holding red silk scarves, staring at us as the audience with horrified eyes, and the high priest in black robes stood by us as a sacrifice The girls were on the other side. They came out one by one and returned to the group fortunately one by one. Finally, a girl was selected... This is Stravinsky's famous dance drama "The Rite of Spring", It tries to communicate the sacred rituals of ancient pagan religions with the abstract and concentrated sound of modern times. I never really understood this masterpiece that caused a huge commotion when it premiered a hundred years ago, until this very personal "watching". Yes, just watching the movie, Wenders used the modern and fashionable 3D technology to grab the "Rite of Spring" elaborately explained by Pina Bausch from the theater to the audience in a three-dimensional manner, and the priest in the foreground was placed in the audience. Zhonglai, another one will pull the dancers in the middle and rear as sacrifices.
The revolutionary music a hundred years ago met the revolutionary choreography of modern dance master Pina Bausch 36 years ago. It is the last work so far to be choreographed in the traditional sense, marking the end and turning point of the development process of the constant radicalization of theatrical means and the transcendence of the understanding of traditional dance, followed by the German expressive dance in the narrow sense. Replaced by the Wuppertal concept with montage language.
The movie "Pina" selected three of Pina's works "Mueller's Cafe", "Rite of Spring" and "Full Moon", and then the crew performed with the troupe to shoot Pina's "Communication Field" created in 1978. The "Rite of Spring" at the beginning of the movie basically just regards the 3D camera as an audience under the stage, staring at the stage in a panoramic view, and the performance scene of "Rite of Spring" captured by the camera also includes some audiences under the stage, so , the spectacle is coming, the audience who is late or is convenient to go out in the real theater walks into (out) the auditorium in the screen theater, and completes a time and space travel. Of course, Wenders did more than simply set up a 3D machine to record documents there. He asked photographers to become dancers with the machine, and together they became elves who captured every detail of the body and facial expressions of the characters on the stage. Dance rehearsal is not a performance art that is easy to say "Cut" again, but a flow of life that requires emotional energy in one go. The reason why "Black Swan" is awesome is that it relies on the strong stage participation and integration of handheld photography. Only if the camera can dance with the actors on the stage, can the pagan tribute of "Rite of Spring" be tragic and solemn, carrying the arena-like sand underfoot to the cinema audience.
Dance space, let life grow arbitrarily
One chair is superimposed on another chair, and another chair is placed on top of the inverted four feet, layer by layer, until the height of the human body cannot reach the chair. Climbing through the dangerous building, and landed on the ground of the cafe with the companion. Here is "Mueller's Cafe" where lonely souls get together. The men and women in the panorama started a speechless exchange dance. Alain Derobe, who has the most stereoscopic photography experience, shot Wenders' Pina World, which is much closer to the lonely individual in "Mueller's Cafe" than "The Rite of Spring". Just like the fragile connection between chairs and buildings, the interpersonal relationships in the cafe are also fragile. The two dancers, male and female, become two wooden chairs, which are joined by a busy third party. The woman's arm wraps around the man's neck, and the man Holding up the woman's waist with both hands, the "chair" collapsed rapidly, twisting the two men and women again and again, and collapsed again and again, over and over again and again, until the dancers on the stage were completely exhausted, but their lives still did not find the temperature.
Of course, Pina's dance world has a variety of meanings, and the above fragile architecture of interpersonal relationships is only the author's self-interpretation. The two stage artists Rolf Borzik (d. 1980) and Peter Pabst, who worked with Pina before and after, have already created a simple yet expansive space for the Wuppertal Ballet, which is convenient for Wende. s shooting operation. "The Rite of Spring" is just a piece of dirt, "Müller's Cafe" is several chairs, "Full Moon" is a pile of rocks and a bay of water, and "Communication Field" is back to a row of chairs. The first three films were directly taken from the Wuppertal Dance Troupe's own theater. The shallow water on the stage of "Full Moon" made the dancers burst out with the strongest vitality. Perry struggled and slapped frantically. I, who know very little about modern dance, even thought that this extremely abstract art cannot be separated from the intense physical expression, but when the Wenders crew performed with the troupe in the "Communication Field" segment, I realized that the face is directly presented outside the body. According to Pina Bausch's pre-existing role arrangement in the play, the characters of "The Communication Field" were successively assigned to three groups of people, including Wuppertal Dance Troupe, 65-80-year-olds, and 14-year-olds. Marion Cito, a costume designer who has collaborated with Pina for nearly 30 years, made the elderly and teenagers dressed in the same color costumes to sit on a row of benches on the stage at different times, like flamenco dancers, a Each stood up alone and performed a lame or creative solo dance, static or dynamic, the young man grew into an old man, and the old man looked back at the young man. Although Wenders did not shout "Cut" in the filming of the stage play, but thanks to the editability of the film medium, the "Communication Field" in the movie "Pina" has been presented in a montage with a clearer meaning, a red dress. The young man stood up and watched the world curiously, and when he sat down, he became a pale old man who knew everything.
Look for the theme, the Pina in your heart is
well known, Pina passed away in June 2009, before the Wenders film started. This almost made a 1/4 century crossover promise (Wenders had always wanted to collaborate after he met Pina in "Mueller's Cafe" in 1985) into vain talk, and also convinced that "the only way to create a The three-dimensional space gave me the confidence to reproduce the art in Pina Bausch's Wuppertal Dance Theater." Wenders was at a loss for a while.
However, isn't "That's it" also a documentary completed after the death of the King Michael Jackson? Didn't Wim Wenders also complete Finding Ozu in the absence of the protagonist? Besides, those stage works designed and supervised by Pina are already perfect and ready-made, so why not come to "Find Pina"? And so, Wenders returned to the theme he was most familiar with—finding. Travis, who wandered in the desert and accidentally picked up his family in "Paris, Texas", Damier, the angel who yearns for the taste of others in "Under the Berlin Sky", and Claire, who is simple and confused in "Until the End of the World"...too many famous The images of the film history are all classics created by Wenders in search of motifs; the late Japanese director Ozu, the fashion master Yohji Yamamoto, the Cuban old music man, the sound engineer who traveled all over Lisbon... The creative context of various artists has always been It is a documentary by Wenders who stares at each other in a cross-media style. Also because of Wenders' search, the Latin jazz of Havana and the Fado folk songs of Portugal have successively become the voices resounding in the tourist holy places of petty bourgeoisie such as Lijiang and Yangshuo. Then, Pina Bausch, who is famous in the niche, is destined to enter the public eye because of Wenders' search.
Because Pina was established as a mystery, Wenders simply made the Pina dance images related to the mystery appear as little as possible in the film. The way he relied on decryption, in addition to the formed works of the Wuppertal Dance Theater, also All 33 dancers of the troupe made an appearance, telling the story of Pina in their hearts. The way they were presented was the calm and beautiful faces that were sculpted by the dance with a beautiful and deep voice-over. In addition, for the 3D effect and the spirit of Pina, Wenders found exterior locations—factory workshops, suburban fields, suspended light rails, garden glass houses, and many other beautiful public spaces in Wuppertal—and used them in one of these exterior locations. , let the art director and costumers work together to design incredible and moving pictures. The actors of the troupe came from the familiar theater to the familiar public space. Wenders asked them to continue the deciphering work about Pina with their bodies. The questions that have been asked, but here in Wenders, the question has become "What kind of Pina is in your heart?"
The answer sheet is handed in, accompanied by modern music composed by Thom Hanreich, there are women in red who let loose to men in suits in the Victorian garden, Asian girls who show their muscles against a strong man in the factory, and Meet the black girls who climbed up and down the chairs over and over again on the grass, the Chuchu Indian and Pakistani men curled up in a glass room to the tune of Esmeralda, and the men with long ears in the city light rail car. The girl who is about to bite the pillow, the lovers flying at the crossroads, and the fashion queue on the hill facing the sunset - the Fellini Circus that disappeared into the depths of the sun. All of this is part of Pina Bausch's secret, about breathing, about life, about dancing, told by her disciples.
As for what Wenders is still looking for from Pina? What kind of person should Pina be? Like the director's aforementioned art film, it won't give you the answer. However, after taking off the 3D glasses and walking out of the theater with Jun Miyake's icy singing "Here and After", the boulders, sand, chairs on the stage, and the city of Wuppertal or the future or the absurd space are difficult to erase for a long time. , because they are endowed with the vitality of the dancer's passionate agitation. So keep looking, look, and follow Pina Bausch's whisper:
"Jump, jump, or you'll be lost."
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