1.
Symphony, frantic dancing, the luxury of high society, surreal dreams, and the loneliness that comes from the bottom of the heart after the crowd. I believe that audiences who know about Fellini's director's works will not be unfamiliar with the above elements.
The creators who can become masters in the history of film must have their own excellence, and the style they created or developed has also had a subtle influence on the creation of later directors. Fellini is one of them. Being able to be called the "Holy Trinity" together with Bergman and Tarkovsky is naturally not to be underestimated, not to mention Fellini and others like Woody Allen, Martin Scorsese, and Kusturica. Big-name fanboy. Woody Allen once used a "Once Upon a Time" to pay tribute to Fellini's "Eight and a Half", and called Fellini's "White Chief" the greatest comedy film since the talkies; Kusturicaine Inspired by Fellini, the idea of creating a movie was born. The carnival, singing and dancing, surreal, and dreams in Kusturica's films were all inherited from the idol Fellini; even a arrogant person like Jiang Wen, in his films Fellini's influence can also be seen in
In Fellini's films that people are familiar with today, the plots are often secondary or simplified, more like a collage of a series of events, connecting stories with different colors and meanings in series with a character or theme to present A multi-faceted portrayal of the society and the desires of human beings. In "Eight and a Half", the director's expression of exhaustion of creative thinking is analyzed from different perspectives using more than ten dreams. The whole film can be said to be a visual psychological analysis file. ; "Sweet Life" concentrates on the mercenary of the media, the arrogance of the upper class, the conflict between ideals and reality, the contradiction in the relationship between father and son, the uncontrollable relationship between men and women, blind theocratic worship, each theme is handed over to other directors In the hands, it is good to be able to say one logically and clearly, but Fellini took three hours to collect it all, and in the interspersed interludes of various clues, he created a picture of Rome from the inside to the outside for us style painting.
Fellini's films at his peak often used symbols and irony to express the unseen or unspoken aspects of people's real world and spiritual world with extremely absurd plot arrangements, which is a very contradictory viewing experience. From the visual level and sensory level, the use of classical symphony and the creation of gorgeous and beautiful scenes will make you unconsciously indulge in it when you watch it. But when you revisit the just-in-time spree after the scene, you find yourself being fooled by Fellini and falling into the trap of the absurd and the nothingness he created. At this moment, the feast in the picture is over, and the male protagonist alone looks at the mess or the clean blue sky and sea, and you feel a sense of loss and a touch of sadness that is still unsatisfactory after indulgence. Everything is fleeting. , all pandering is just a helpless measure for self-protection, and all carnival and promiscuity are disguise for escape. Through absurd and almost absurd carnivals, Fellini tirelessly dissects the plight and insecurity of modern people in urban society. We can always see our own shadow in Fellini's films. The so-called dream-like success in modern society is transformed into a circus-style joke in Fellini's films.
However, it is such a film creator who has unique insights into the human spiritual world, but in the new century, because of his personal style, most audiences will cry unanimously: "I really don't understand, I don't even think about half of it. sleep" and so on. In fact, I don’t blame the audience. The works are often selected by the audience, and there is no meaning of being superior or inferior. It can only be said that the self-aesthetic system or cognitive structure is inconsistent with the creator’s character, and there is no need to use a movie to elevate or Who to demean. When I was watching Kubrick's "2001: A Space Odyssey" myself, I also wanted to fall asleep. When I lost sleep, I played the clip of the protagonist traveling through the interstellar orbit, not to mention hypnotized. But when I watched "Eight and a Half", my understanding of the film became a little more immature. Although the film is visible to the naked eye, when we think about a thing, we often use our perceptual drive first. Rational, and then use rationality to conduct a second round of analysis of the things you encounter. For works of art, especially thinking and emotional works, I think more should be felt with the heart, such as "The Seventh Seal", "Love of Hiroshima" and other works, although let me explain I don't necessarily I can tell the truth, and I don’t even dare to make an axe in front of the big guys, but when I enjoy these movies, I can get a real sense of immersion and spiritual comfort, in the busy and impetuous real world. A moment of tranquility. As Kubrick said, "Movies are more like music than novels, a kind of perceptual cognitive enjoyment." From this point of view, find an absolutely free time, calm down, and open a Fellini I believe that I will find a different kind of film experience.
To sum up, Fellini has a very profound and keen insight into the human spiritual world and the influence of the external world on the shaping of human beings. I think this inspiration has a lot to do with his early Italian neorealist creative experience. Italian neorealism was influenced by the "realism" literary and artistic movement directed by the writer Verga, and it was the development of critical realism in a specific era. Most of the themes are based on real events, depicting the disaster that fascist rule brought to the Italian people. In terms of expression, it pays attention to the details of ordinary scenes, and replaces traditional dramatic techniques with documentary techniques. In the past, Hollywood movies mostly focused on happy endings, and the creative concept was more inclined to dream-making, emphasizing entertainment, and ignoring realism. There were only a few good realism works, which indeed enriched the spiritual entertainment life of the masses for a considerable period of time.
But when people have experienced the pain of war, people's lives have suffered unprecedented damage, people's spirits have been hit hard in the hell-like wasteland of gunpowder smoke, the country has been destroyed, the economy has collapsed, and people have begun to fall into the chaos brought about by post-war reconstruction. of material desolation and spiritual desolation. After witnessing human tragedies such as the World War, watching those overly dramatic movies on the screen can no longer convince them, but feel false and exaggerated. At this time, people need more films that can reflect their own life and have a certain spirit of reflection. The emergence of Italian neorealism caused a huge impact on the film industry at that time and influenced the creative ideas of subsequent film creators, including the later famous French New Wave. The representative works of Italian neorealism have two peaks, one is "Rome, Undefended City" directed by Rossellini, and the other is "The Bicycle Thief" directed by Desica. And Fellini is one of the screenwriters of "Rome, Undefended City", which shows that he is an important participant in this movement.
In addition to participating in the screenwriting, Fellini's early masterpiece "The Solitude Trilogy" can be regarded as a lineage of neorealism, but only with inheritance, Fellini will not have the status it is today. Different from the later mature "betrayal trilogy", from these three films in the early years (ie "The Road", "The Liar" and "Night of Cabiria"), we can see Fellini's style more clearly traces of development.
2.
In the "Lonely Trilogy", we can see that it is different from the description of material luxury and spiritual nothingness of the upper class in Fellini's works, and it focuses more on the life of the lower class. In the three works, the current situation of life in Italy at that time was displayed to varying degrees through the images of three kinds of low-level figures, such as rivers and lakes entertainers, liars and prostitutes. The protagonists in the film were all living without dignity. something more cherished. Maybe these things are right in front of them, but they don't care about their so-called ambitions and regret it later, or they bravely pursue it when they see hope but are hurt by it later, no matter what they choose, it seems that the end is always the end. The same: To be lost, to be melancholy, to be perplexed is to fall into nothingness. In these three works, Fellini depicts the living conditions and emotional world of the protagonists to varying degrees, not only showing sympathy for the marginalized people at the bottom of the society at that time, but also in this sympathy beyond the expression category of previous neorealist works.
In the past neorealist works, the tragedy of the protagonist's fate was more caused by the external environment, the devastation of war and the collapse of the economy after the war, which made people's life that was not rich even more difficult, or in this deformity The human nature is gradually lost in the developing society. The people in the films of this period were more embodied as people in the society, and everyone was coerced into historical turmoil and changes. For example, the protagonist in "The Bicycle Thief" is a social The injustice of the next step has lost the most basic dignity as a human being. The main features of the works of this period are: social and documentary.
In Fellini's works, the depiction of the external environment is relatively weakened or even ignored, and people are restored from social people to people who belong to individuals, that is, the consideration and thinking of human beings themselves, focusing on describing the spiritual world of human beings. And the emotional world, the fate of the protagonist's tragedy is more of his own. In these three works, the influence of the external environment is weakened, and attention is paid to the emotional portrayal of the protagonist, which makes these three works surpass the limitations brought by the previous neorealist works, and bring a bit more universality and tend to be personalized. and internalization. We can understand it this way, the past neorealist works are generally the reaction and restoration of the era at that time, that is, the documentary method of "carrying the camera to the street". From today's perspective, some movies seem to have historical significance. Greater than its significance as a film, it has certain limitations of appreciation. But these three works of Fellini return the pen and ink to the human being, and the human animal has changed very little in the torrent of history in the past 100 years. Refers to the cause of the heart. In Fellini's works, we can also feel the confusion and anxiety of today's people. No matter what era or country it is, this anxiety and hesitation are the same. At the same time, we can also get a glimpse of the change and establishment of Fellini's work style through the different degrees of identity setting and image depiction of the protagonists in these three works.
The protagonist in "The Road" is a man and a woman. Their status is determined by their education level and living standard. The mother of the heroine Gersomina has to sell her daughter to The busker Zambano can not only give his daughter a job that can at least eat enough food, but also reduce the burden on the family; Zambano is a reckless man with five big and three rough, but he can't do things without thinking. Cheap and ignorant character who is afraid of causing trouble. The images of these two characters are closer to the so-called "little people" in the literary and artistic works that we are familiar with at ordinary times. Most of the people in our country are familiar with Lao She's Hu Niu and Xiangzi. From this work, Fellini changed the description of the simple characters of the bottom people in the previous neorealist works, but paid more attention to their more ignorant side, a kind of rebellion that went the opposite way, of course. In this ignorance, they also carry their innocence and romance, and there is a kind of sympathy and compassion of "mourning their misfortune and angering them". It can be said that this work of Fellini restores them to real people. Good and evil ordinary people.
In the second work "Liar", the protagonist is set to be a fraud gang that exceeds the legal limit. Compared with the bottom, they are more marginal characters, not to mention that they also set up a scheme to defraud injustice from the farmers and other people with low living standards. In the past works, this image must belong to the villain, the villain who makes the masses fall into a more miserable life. But under the lens of Fellini, the group of marginalized people outside the law were treated like ordinary people just mentioned. We can find that under the cloak of their liars, they are also ordinary people like you and me. . Fellini did not try to justify the illegality, nor did he portray them as heroic figures of the Jianghu, but just calmly showed their normal life as human beings. They were just a husband, a father, and their own desires. However, due to the particularity of their "occupation", their basic dignity as human beings does not exist. From the work "Liar" to the later "Night of Cabiria", the division of social class and the discomfort of marginal characters in the upper class began to appear in the works, and the carnival style of Fellini's works has been seen for the first time. clues.
In "Liar", Augustine took two companions and the family of one of them to a banquet hosted by a friend. The classical music reverberated in this confined space, and the gentlemen were joking with their female companions. One of Augustine's companions, because of "professional habit", put a lady's golden cigarette case in his pocket, but he was discovered by Augustine's friend who was the host of the dinner party and exposed it in public at the end of the banquet. When he took out the gold box and made a forced smile to match the steps given to him by the master, we can feel that this figure includes the contradictions and stagnation in the heart of Augustine who came with him. He is also a person, but with extremely different identities In a big reality, they are two different worlds. This method of using the embarrassing situation of "little people" to set off social class differences and human nature will be presented in "Xiao Wu" directed by Jia Zhangke and "Parasite" directed by Feng Junhao in the future.
In addition to strengthening the theme through identity contrast, Fellini's destruction of the subjective spiritual world of human beings begins from this book, that is, the questioning of religious beliefs. In the film, Augustine's group of people repeatedly defrauded them in the name of church priests, and the religion that should have been popular in the world became an accomplice to confuse the world. At the end of the film, the crippled little girl stood up with difficulty, walked tremblingly to Augustine, kissed his hands, and begged him to bless her, but Augustine still ruthlessly rejected her after some ideological struggle . He, who has been on the fringes of society all the year round, knows that religion is just a trick to masturbate without any practical effect, but in the hearts of this group of dissatisfied people at the bottom, it has become a life-saving straw to barely maintain their lives. Augustine rejected her. On the one hand, it is the persistence of self, even if there is doubt in the process, but his many years of survival experience tell him that it is better to let her accept the reality from the beginning than to give her hope; and the girl suffers from the "priest" in her mind. Fellini did not give an answer, but I believe that every audience can look back at their spiritual beliefs in this set of shots. Once questioned, a lock was opened for the nothingness in the later works.
The work "Liar" is more experimental than "The Road", which is probably the reason why this work is less well-known in the "Lonely Trilogy". Compared with the other two works, "Liar" has The amount of attention is too little, but we cannot ignore the excessive role of this work in the "Solitary Trilogy" and even in the sequence of Fellini's works. Although "The Great Road" pays more attention to the inner emotional world of the characters than the previous neo-realist works, the plot framework and expression techniques of the film are still in the category of popular works. Focus on the life experience of the bottom people. In "Liar", the depiction of the upper class began to appear in order to strengthen the sense of separation of social classes. at the same time. Characterization is more marginal, and the questioning and torture of beliefs can be seen as the prototype of Fellini's style in the later period. After the experience and experimentation in this work, Fellini has gradually explored a narrative direction that is different from the previous neorealist works, and the formative work of this style is called by Andre Bazin as "" The End of Neorealism", "Nights of Cabiria".
3.
"Nights of Cabiria" is the last part of Fellini's "Solitary Trilogy", and it is also the definitive work of Fellini's style. In this work, we can see that Fellini has gradually found a style that suits his own thinking through the exploration and experimentation of the first two works, and he has more confidence and experience to seek a new round of creative methods. . If the first two works are just a step-by-step test, then this last one Fellini has completed the leap from quantitative change to qualitative change, and has taken a big step in his own independent style. He has enough confidence and courage to It is customary and taken for granted to further question and even destroy.
In "Night of Kaliba", the protagonist's identity setting is more humble than the previous two. The first is still the usual low-level role busker, the second is a liar on the edge of the law, and the third is a despised prostitute wandering the streets. After all, compared with liars, prostitutes have a lack of morality in the eyes of the mainstream, in addition to the same legal marginality. For some people, legal mistakes can be forgiven, but moral betrayal is intolerable. Just like the grandmother who once became a comfort woman in "Can I Talk", even if you are a victim, as long as you go beyond the boundaries of morality, if If you don't die because of shame, you will be reviled by thousands of people because of shamelessness. Even if you live, you will be criticized by people. People are more willing to see a chaste martyr who has been humiliated and died, and they don't want to see a "dead skin and shame." "Poor man alive.
Kabylia in the film is such a person. At the beginning of the film, she was deceived by her boyfriend and stole money, and fell into the water during the dispute. When Kabylia was rescued by the local villagers, not only did he not express his gratitude to those who helped him, but instead vented his grievances about being abandoned by his boyfriend on the villagers, doing his best as a shrew, compared to "Liar" Different from deceiving farmers because of life at the beginning, this group of opening paragraphs makes the audience not give Kabylia a trace of sympathy even when they know that Kabylia is also a victim. question. In the subsequent episodes, we also learned the real identity of the woman. This opening not only caters to the audience's consistent impression of this group, but also establishes a strong contrast foundation for the further excavation of the characters' hearts in the later period.
In addition to the more marginal setting of the protagonist's identity, the Fellini features familiar to later audiences in the film are also more presented than the previous two works. For example, the disparity between the rich and the poor and the sense of incompatibility of the marginalized people at the bottom brought about by the gap between the rich and the poor, as mentioned in the previous article. In "Night of Kabylia", in addition to being uncomfortable, there is also a layer of low-level characters that are not in "Liar" and are out of tune with the upper class, which causes unawareness of their own environment and state, that is, in the eyes of others. of embarrassment.
Kabylia felt deeply annoyed and angry because her boyfriend robbed her of her money and abandoned her. After greeting other prostitutes who seemed to be more "high-end" on the road, she encountered a famous movie star who was having a relationship dispute with her girlfriend. The girlfriend leaves in anger, and the movie star loads Kabylia into the car in anger, and then begins Kabylia's first night in the film. In this paragraph, first, we can see that there is also a hierarchy in the same humble identity. Even prostitutes are divided into high and low. Prostitutes in the bustling city center naturally dislike small places like Kabylia. That's why after Kabylia got into the car, she waved provocatively at the high-end prostitute who had just passed by. Second, from the unrestrained and spontaneous actions of male movie stars towards Kabylia, it can be seen that this is his consistent style, which is extremely natural, and Kabylia's excited reaction reflects her self-identity. The humble understanding of a movie star actually waved to him, which is something that a prostitute would not dare to ask for. From this episode and the different reactions between the two characters, we can also see the different living conditions of the two different classes and their attitudes towards their own class and their views of the class above (lower) than them . There is no legal provision for this kind of demarcation, but it is people's mischief. It is even more sad when we automatically divide ourselves and others into different statuses.
Next, the male movie star takes Kabylia to an entertainment venue frequented by the upper class. In the opening paragraph, because Kabylia does not know where the entrance to the door curtain is, the small paragraphs that are turned around in the door curtain are interesting at first glance, but combined with the following plot, we can see that this is Kabylia. The first performance that is not suitable for the occasion, and in the next scene, it begins to show unconsciousness. The male movie star danced with Kabylia. At first, the two of them embraced each other in a more formal slow dance. After the dance tune began to speed up, Kabylia began to dance happily and enthusiastically because of the excitement and inconceivability of being in such an environment. , compared to the previous dance, this part is more comfortable and enthusiastic, but it is ridiculous in the eyes of the upper class people. In most cases, their facial expressions are taut, and it is not easy to show personal emotions. This is a A camouflage of the environment in which they live. Kabylia, on the other hand, was unaware of the environment she was in. She didn't know that when she was dancing enthusiastically and solo, there were several pairs of eyes staring at her with doubt and contempt, so she was stopped by the male movie star when she danced the most. left this entertainment venue. The entire passage is visually hilarious, but at its core is embarrassment, the aforementioned embarrassment in the eyes of others. Augustine and his companions in "Liar" have a clearer understanding of their environment and status, so we feel more of the characters' depression. In "Night of Kabylia", we follow Fellini's eyes on the upper class, and bring in the perspective of the other, and examine Kabylia, the "abnormal" from the perspective of the male star's identity. , and the mismatch between the environment and the performance of Cabiria is also more cold and relatively objective, showing Fellini's theme of social stratification in his works during this period.
In addition to ruthlessly revealing the gap between the rich and the poor in Italian society at that time after the war, "Nights of Cabiria" still reflects Fellini's criticism and questioning of religion. If the doubts in "Liar" remain in self-belief doubts, "Nights of Kabylia" doubts the whole religion and the fanatical beliefs of the masses, that is, the rise from the individual to the collective. In the film, Kabylia joins the crowd in the religious procession and pilgrimage, but here Fellini uses a Kabylia candle to extinguish the passage of having to borrow fire from others present to convey that Kabyli Ya's attitude towards religious belief is swaying like a flame blown by the wind. It needs to be maintained by the enthusiasm of others. It is more to cater to the majority of the class, so as not to be isolated. It can also be seen that Although Kabylia is usually arrogant and unreasonable, she is eager for love and recognition. Kabylia knelt down and prayed in the church, burst into tears and hoarse; after leaving the church, she mocked the passing nuns and their beliefs. People, no matter how sober they are advertised, are still easily incited by the masses. Kabylia's performance in the church was more influenced by the people around her. When she got out of the church to think independently, she realized how ridiculous everything Shicai was, especially when she experienced emotional betrayal and the so-called successful people. After hypocrisy, Kabylia's beliefs have long been ruthlessly impacted by reality. Doubt is one of the themes in Fellini's films. The most obvious style of this style is the mockery of the pair of nuns in "Nights of Cabiria". There are no symbols and metaphors after Fellini, only simple An almost blatant cry.
Halfway through the movie, we can already see the general characteristics of the character of Kabylia. Aggressive, unreasonable, unruly, but with a glimmer of hope in life. Compared with the purity and kindness of Gersomina in "The Road", she is a little more philistine; compared with the depression and dullness of Augustine in "The Liar", she is a little more poor and happy. From his performance in the church to outside the church, the audience can see that this character still has hope for life but is mixed with distrust of life.
After Kabylia left home, in the hypnotized play at the theater, Kabylia was hypnotized into a fairy tale love scene. Kabylia held flowers and shyly revealed it in front of her favorite object. Showing his love, Kabylia's behavior in this scene is completely different from the Kabylia we saw in the previous film, although this moment is just hypnosis, but when a person enters into nothingness. In my virtual state, in a beautiful state, we can see the most authentic face of this person. The human nature is good at the beginning, and the rough appearance and contemptible words and deeds may just be the disguise of Kabylia's existence. From this paragraph In the hypnotic passage, the audience's emotions and thoughts began to be shaken by Fellini's mental dismantling of the character again and again. It seems that this is not a prostitute in our impression, and the audience's disgust towards her began to turn into into curiosity about her past.
In addition to uncovering the veil of Kabylia's inner self, this passage also reveals Fellini's pessimistic attitude towards life: only in dreams can we temporarily relieve the difficulties of life and return to the kindness and innocence of childhood. A dream is a package in which people are temporarily isolated from the disturbances of the outside world. Everyone tries to pursue the meaning of recognition and self in the dream and the collective. However, this kind of satisfaction in a limited time and a limited range can make us fall into a deeper state after waking up. Big overwhelmed. What I am most afraid of is not not knowing that I am dreaming or knowing that I am dreaming, but that when I wake up from a dream, I know that I am dreaming and want to return to the dream of Shicai. Whether it is Kabylia's religious beliefs that follow the crowd, or hypnosis in the theater, or the endless carnival in Fellini's films later, it is Fellini's sympathy for the lack of modern people's sense of identity in social life. .
4.
In Fellini's "Trilogy of Solitude", although the protagonists are at the bottom or even on the edge, they have not lost their thoughts on life because of this, just like Kabylia who is in a fantasy state during hypnosis. This is also the theme involved in all three of Fellini's works, that is, the desire for love, but this love does not seem to be what the protagonist in the film wants.
In "The Road", Gersomina, despite being abused and despised by the busker Zambano, still never leaves him, even if there is a better choice to walk with the gentleman who walks the tightrope, Gersomina still chooses to wait at the gloomy prison gate for the person who often loses her temper. Although Augustine in "The Liar" is doing fraud, even religion can be used, and even his companions can betray at the end, but he has a love for his daughter that is not inferior to ordinary people, even if this love is because of his profession. And it seems less lasting, even if this love has caused embarrassment to his daughter because of his profession. However, in "Night of Kabylia", the word "love" was initially in a state of being despised. It was not as sincere as the first two works, but more casual and playful in the game world. This is similar to Kaby's. Leah's identity as a prostitute is related. In the eyes of this identity, love is a transaction, love is a game, and love can be measured with real materials, such as the male star's casual attitude towards Kabylia in the film A stack of bills for her. Love doesn't seem to exist in the ugly and false world presented at the beginning. It wasn't until Kabylia was hypnotized that the audience enjoyed the emotional beauty of the film for the first time.
After Kabylia leaves the theater, she meets Oscar, the man with the same name that Kabylia called out during the hypnosis. He has knowledge, sentiment, and treats things calmly and objectively. He is considerate and gentle, and gives Kabylia a lot of affirmation. He can see her kindness, pureness and softness without being troubled by Kabylia's career. At this time, it seems that this is Kabylia's dream lover, the unfortunate angel who came to save her after God heard her petition. And Kabylia seemed a little helpless when she first met him. She was used to emotional transactions, and she didn't understand how such a polite gentleman could fall in love with someone like her. She was used to emotional transactions. There is love that sounds childish but beautiful. During the dating conversations with Oscar, Kabylia gradually let down her guard, and she began to feel a very pure feeling that only a child can experience, like a flower that has been through the mire being kindly People picked it up, washed the mud and bathed in the sun again, the flowers opened up again and showed a beautiful and pleasant appearance, Kabylia fell in love.
At this point in the film, the audience can already see a complete image of Kabylia, and the theme of the film also begins to return to Fellini's first two works: the desire for love. The desire for love, and the recognition of love, have become the common theme of the three films as the film progresses here. However, if the audience who has watched the first two works must have this question in their hearts: Fellini, who has always questioned, actually played the trick of having lovers get married this time? It is not unreasonable to hold such doubts. In the first two works, the protagonists still yearn for love despite being in a desperate situation, but the love that is often fed back to them is not commensurate with the heat of their feelings. In "The Road", Gersomina worked tirelessly to follow Zambano, but in exchange it was Zambano's abandonment, just because Gersomina witnessed the whole process of Zambano's mistakenly killing Steel Soran. At this moment, love lost to selfishness and cowardice. Gersomina, who regards love as the only value and takes being by Zambano's side as her life guide, is also depressed until the end of her life. Many years later, when Zambano is old, she learns that Gersomina has already It was only when he died that he repented and knelt on the beach and cried bitterly, but there was nothing he could do. Gersomina's love is exchanged for abandonment, and Zambano's selfishness is exchanged for the regret of losing love many years later. Both lost.
In "Liar" Augustine's love for his daughter is conditional on betrayal of religion, betrayal of brothers, and even betrayal of the audience. At the end, Augustine resolutely told his companions that he found his conscience and returned the money to the unfortunate disabled girl. The accomplices did not believe it, believing that it was Augustine who stole the money and beat and kicked him. The audience's heart at the moment is affected by Augustine, and by Augustine's timely repentance and the safety of being in danger, it was not until our accomplices found the money from Augustine that we discovered that we had also become the object of deception. We found that we were deceived, but we couldn't bear to criticize Augustine. After all, we opened the perspective of God and knew that all this was for his daughter, so that her daughter could go to an ideal school. He betrayed his faith but insisted on his own only faith, for which he could give up everything. Love was his only faith, but it openly became a fig leaf for his actions. Love allows him to face the unbearable life, and love gives him the courage to face the contempt of others. We don't know whether his understanding of love is pure, but we know that his love for his daughter is selfless, even if it leads him to destruction.
In "Cabylia Nights", the audience is skeptical about Oscar's appearance, and Kabylia sells the house, catches the bus, and waves goodbye to his friends. Even the audience almost believes that Fellini is going to be vulgar this time, but if it is a happy ending, where is the loneliness of the "Lonely Trilogy" reflected? Sure enough, Fellini finally made a joke with the audience and Cabiria. Oscar is no different from the boyfriend at the beginning of the film. What he covets is still Kabylia's money, and the relationship in Kabylia's eyes turned out to be a transaction. So Kabylia begged Oscar to push himself down on the cliff. What hurts the most is not disappointment, but despair after hope. Kabylia's perception of feelings goes back to the past (probably not as good as before).
All three works have the protagonist's desire for love as the key driving point and the protagonist's abandonment of love as the node. Fellini uses this repeated routine to express personal doubts about human emotion and emotion, which is itself illusory The uncertainty of the concept itself. Looking at Fellini's works, we can see the loneliness behind the carnival. Fellini's attitude towards human emotions is pessimistic. I think this is why Fellini later concentrated his creation on the structure of the fantasy world and the spiritual world, because in Fellini's three more popular works, several things that regard human beings as treasures have been thoroughly discussed. Questioning and destroying is the same as when Jin Yong overthrew the chivalrous chivalry he built in "The Deer and Ding Ding". Religion and emotion are all hypocritical under Fellini's lens, full of unspeakable loot, even if Fellini inadvertently reveals his trust in emotion in some passages, that is when emotion has passed away and it is impossible In the case of heavy gain. Fellini seems to have such a concept: it seems that there are good things in this world, but we can only miss and regret, because we do not deserve it. Therefore, "Nights of Cabiria", the final chapter of the "Lonely Trilogy", also lived up to the title of "The End of Realism". After that, Fellini stepped out of control for most audiences. In the frenzied dream that is not too close, like Kabylia, who has returned to human society from the edge of the cliff, ended in a carnival parade.
5.
"Trilogy of Solitude" should be the best work in Fellini's creative career that combines popular and art, and it is also the most important work in the process of his style change. If you don’t know much about Fellini’s later works, you might want to start with these three works. In these three works, you can see the humorous side of Fellini’s early days, as well as his The style is excessive, starting from these three works and then entering into Fellini's fantasy. I believe that I can fully feel Fellini's film aesthetics and the dreamlike emotion and sadness behind Fellini's films.
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