I had never paid attention to this director named Abbas Kiarostami before, but in the process of watching it, I suddenly remembered that the style of the film is very similar to the "The Taste of Cherry" I watched a few years ago. When I came to the disc of "The Taste of Cherry", I realized that the two really came from the same person. Then I suddenly remembered that Liang Wendao also seemed to have introduced this director in his program, when Abbas was a poet. As for the "poet" and "poetry" and the like, I've been terrified of avoiding them lately. I believe in my heart that poetry is something that men who kill a thousand knives write with their rhetoric to deceive women.
Poet... Poet -- with this laurel on, I kind of don't like Abbas.
However, his movies are so beautiful! The winding road is so spectacular under the description of the long-range lens, and the layers of shabby earth buildings are so dynamic that even the back of the male protagonist riding through the wilderness on a rudimentary motorcycle is also a sight to behold. So nostalgic. It seems that all the scenes can speak, the majesty is majestic, and the details are meticulous. With such a delicate and rich visual impact, I really can't describe this beautiful film without "poetic".
Compared with the poetic background, the plot of the movie is a bit rudimentary. The male protagonist drives alone to a remote small mountain village, walks around all day, chats with the people he meets, and runs to the top of the mountain to receive calls from the same person.
When he first entered the village, he told a little boy that he was here to hunt for treasures. After watching it for a long time, I realized that the male protagonist's purpose in coming to this small mountain village was actually to find an ancient tomb for pilgrimage. From the clues in the movie, I also found that the male protagonist did not come alone, he was always asking the villagers about the whereabouts of other companions. Later, the hero decided to go to the house of a villager named Karamon to buy milk. The experience of buying milk this time is really intriguing, not to mention that the cows are kept in a dark basement, the hero actually talks about the poet he likes to the village girl who is milking the cow, and recites some beautiful poems. The owner is worried, doesn't he feel embarrassed about Niu playing the piano? Later, the village girl asked him how many years the poet had to study to write these romantic poems, and he replied that it would be five or six years!
At this time, I realized a little bit. It turned out that neither Abbas nor the male protagonist took poetry, which is extremely sacred in the eyes of ordinary people, seriously. In their eyes, it is clear that poetry is life, and life is poetry. Therefore, the protagonist does not have the embarrassment of playing the piano, so Abbas's camera can capture those pictures that are ignored by ordinary people.
One of the dialogues in the film left a deep impression on me. The male protagonist met a man who was digging an underground communication pipeline on the top of the mountain. He was amazed that he was carrying out such a huge project alone, and asked, "Why are you doing this work alone?" The man replied, "One person makes the job easy!"
Isn't this another wise man with a golden rule? Recalling the purpose of the male protagonist's visit to Xiaoshan Village, I can't help but sigh that there is no shortage of idealists and artists in the movie, and life is probably the same. It is a pity that the cultural garbage produced by those rhetorical pseudo-poets often blinds our eyes. We really need to cultivate a pair of sharp eyes in the surging cultural flow, especially the perspective of observing and feeling life.
Unconsciously, I remembered Matthew's classic dialogue about observation in "Dream of Paris" in front of the twins' poet father: "When you observe something more closely, you may be able to find that it is the same as that in the universe. There is a relationship between the harmony of shape and size of things, and I believe that harmony exists."
I also believe in the existence of this harmony. To cultivate such a different vision, the first thing to do is to break through the psychological barriers and step on those things that are sacred and inviolable on the outside. When I learned to kiss passionately with the cultural mud under my feet, maybe another Abbas Kiarostami was born.
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