Under the guise of the topic of marriage and love, to portray a type of person, Lao She said that Fan Caizhu's husband is indeed not bad, but "not bad" does not mean "all good". German director Fassbender said in the words of the movie character Amy, "They are not bad, but they are not bad either." Therefore, in this world, there is a real existence that has never changed: no matter when and where , some people live, they are neither bad people, but by no means good people. These people occupy 71% of the share, but they have not been able to promote the ark of civilization with the mission of the "Mother River" as the source of life. Instead, they are like raging desert storms, in the bloody wind of social progress or regression again and again. , the clamor of clamoring and clamoring in a group, showing the mighty momentum of the group to attack, either hindering or fueling the flames, serving the tyrannical in the ignorant bravery and fear. Yes, fear eats the soul.
The recent film "Help" and the classic old film "To Kill a Mockingbird" both discuss the social issue of racial discrimination. What a high-sounding discrimination crusade was launched, and the driving force behind it is the selfishness driven by interests and power.
I definitely don't think of myself as a Taoist guard. I am a layman and must be vulgar. Next, enter the theme movie "Fear Devouring the Soul". It is said that Fassbender's "Fear Devouring the Soul" is among the movies recommended by Cai Kangyong. He humbly explained that this movie forced him to see himself. Obviously, he is a brave and wise gentleman, so why not say this to everyone. I thought that the movie "Fear Devouring the Soul" was just for the purpose of attracting new ideas, just as racial discrimination is surrounded by new discrimination, new attacks, new slander, new persecution, new disasters... Mirror Jian Chengchu is probably a great derivative that Fassbender did not expect after expressing his views.
I think that's what a great work looks like. It tells about the simple life, but reveals the different aspects of life everywhere, and finally throws a mirror in the viewer's heart that can reflect the monsters and ghosts. In the movie, when Amy, a sixty-year-old cleaning lady, shares a room with a young Moroccan boy, Ali, life takes on unforeseen complexities under worldly prying eyes, and what I call "unforeseeable" is the possibility of It will be as bad as it gets. Horrible racial discrimination, the unusual behavior of young couples and old wives, the gossip of neighbors, the neglect and exclusion of colleagues, the condemnation and contempt of children, now that I think about it, the whole film is mildly expressed, which is really true for a "program" in a disaster. Pediatrics. Perhaps it was Fassbender's kindness that he decided to turn his attention from the mental pain suffered by Amy and Ali to discussing the hypocrisy of human nature.
Therefore, after a long trip to escape reality, people adopted another "acceptance" attitude towards Amy and Ali, because foreign workers did not break the law, the police had no right to arrest them; age should not be a stumbling block for love and marriage : The neighbor's aunt suddenly needs to borrow Amy's basement, and naturally has the face of eating people's mouths; and the bitter and mean shop owner has to bow his head to the money and recruit old customers to solve the bleak business situation; as for The return of Amy's son is also a lucrative decision, and he needs the old mother to be the child's nanny. In short, these people see that the hope of destroying the happiness of others is slim, and in a blink of an eye, they seize the opportunity and work hard to set off on the team of the vested.
In this way, the negative characters of the whole play are the prejudiced group portraits and the terminally ill society. In fact, Fassbender does have a unique set of views on human nature and society. Even if he leaves a few hurried strokes in the play, he can still feel his depth. When the viewer's attention is shifted from the social environment to the hero and heroine, it seems that the small sees the big, and the emotional life is used to show the way of human coexistence or fighting.
The hero and heroine overcome all odds and finally come together, and their problem comes again. A happy marriage could never give Ali the security, freedom, and equality he craved in his spiritual world, so he would degenerate in helplessness, betray his wife Amy, stay at the house of the female owner of an Arab bar, and laugh at Amy's age with his co-workers. Use alcohol and gambling to numb herself; Amy is the same, although she has survived the most difficult times under the power of love, and has a peaceful family life with Ali, but in the end she is still a philistine in the secular life of chai, rice, oil and salt. , Mean and self-willed, she no longer accommodated Ali in her diet, nor did she take care of Ali emotionally. In short, she forgot all the pain she had experienced. The director said that Amy is also a common man. When Yolanda, a female Yugoslav worker, became the victim of Amy's replacement, Amy's philistine performance was vivid and vivid.
What's more interesting is that two people love each other deeply, and they find a psychological balance to fight against social pressure by bruising each other's weakness. The human and human world has made it even more extreme, so there is a scarcity of uprightness, and there are too many secret arrows to hurt people while they are in danger. Amy is old enough to be Ali's grandmother, and when Ali walks out of Amy's house, he will become a poor laborer who shares a room with a few co-workers. Taking this as the target of attack, it will inevitably lead to deeper pain after venting. It is also the real world of rivers and lakes. Fortunately, Fassbender ended with a good or bad situation. The husband and wife were reunited, and the emotional cracks can be bridged with love, but the chronic diseases of society cannot be completely cured, just like Ali's stomach problems, foreign workers. discriminatory sign. Yes, how can I say this? Or as Fassbender put it well, fear devours the soul, and fear destroys human nature, and there may have been a foundation of impureness before this.
It is not surprising that Fassbender, the eccentric who died young, is included in the ranks of the masters. If the director has a very distinct personal style, some movies are just like this three or two rows of lines, and they present stunning and vivid real pictures. The movie "Fear Devouring the Soul" continued to use Fassbender's consistent shooting method. The camera did not have a mysterious design. Like a waiting pupil, it directly entered the plot. The mirror view from reality, the close-up of the facial expressions of the characters, etc., hold up the spirit of the whole film. The infrequent movement and frequent changes of the shots, and the deliberately paused and deliberately cut pictures have created a fluctuating emotional atmosphere, and even Without compromising the smooth coherence of the story context. All this is Fassbender's personal symbol, and it seems that this film is full of praise. In the film, there is a scene in which Fassbender guest starred as Amy's son-in-law, which is the most relaxed and joyous embellishment in the whole play.
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