Eight and a half, since the first time I saw this movie in my junior year, I've rewatched it every once in a while, months or years. Every time I read it, I want to write something about it. But it's been so long and I haven't written it once. Because I'm lazy and don't like to write too long things, and I think every second of this movie deserves my detailed description. I want to pick up a few points that I particularly like to write, but each point is so perfect, even the passers-by who only have one second in each shot are so distinctive, dramatic and impressive. It is precisely every detail that is so exquisite and perfect that makes this film so memorable that I will never get tired of watching it no matter how many times I watch it.
The whole film is transformed in the real, fantasy, dream, and subconscious mind. Time and space are skillfully played by Fellini like marionettes. With such unruly imagination and narrative ability, there is only another field in which Marquez's novel Hundred Years of Solitude (which happens to be my favorite novel). And although this movie has all kinds of ghostly imaginations and absurd pictures, it makes people feel that it is so similar to his own life, which resonates in people's hearts. At the beginning of the movie, Guido's car was blocked in all directions. Guido climbed out of the car and flew into the sky. Suddenly, the rope on his feet was pulled off and fell into the sea. The traffic jam represents Guido's numbness and chaos in his life. Guido wants to escape his numb and chaotic life, but is tied to a rope and can't do anything about it. I think everyone will encounter this kind of helpless state countless times in their lives, and some people even stay in this state all their lives. And Fellini only used a few shots to express this state directly to the heart.
The male lead, Guido, is a very famous director and is preparing a new movie. Investors, writers, and actors all revolved around him, but Guido didn't know what he was going to shoot. Actors asked about their roles, investors asked about the next step, and colleagues asked what to do. , the writer kept giving opinions, but Guido kept evading and couldn't give an answer. In a dream, he dreamed that investors came to his deceased father and complained that he was not a good director, and he cried while covering his face. When it came time for the press conference, all the relevant people and reporters came, and Guido couldn't say a word. In the end, he tore down the multi-million-dollar building built for the film and ended it all. The writer said that you are right to choose the end now, it is normal to lose some money, and we have to learn to give up when we go the wrong way. Anyone I want to understand will be heartbroken. Because that's how we live. Parents, the people around, and the surrounding environment push us to move forward for a while. Many people don’t know what they want, and they haven’t stopped to seriously think about what they want, so we Although busy, I still feel empty from time to time. One day, we start to think and find that we don’t like this kind of life so much, but our current life carries the expectations of our family and everyone around us, and carries all our past sacrifices. When this kind of life is about to freeze, we must be overwhelmed and anxious like Guido, but can we let go of everything and start over like Guido? I don't know, maybe someone is worried about this right now.
Just now I mentioned the part where the investor complained to the actor Guido's deceased father, and Guido covered his face and wept. Everyone is most afraid of their parents knowing when they make mistakes when they are young, and they are also most worried about their parents knowing when they are adults. Even though their parents have passed away, such thoughts will remain in the subconscious, so when encountering difficulties Sometimes I dream that my deceased relatives know their unbearableness. The home where Guido and his father met was a deserted and empty building. We should all have such an experience, dreaming of the place where we lived when we were young, but in the dream this place will be different, or it will become dilapidated, old and dark, or something has been added, or it will be combined with other places. When Guido hugs his mother, the mother becomes his wife. This is also often the case in our dreams, often when these two interchangeable persons have very similar attributes. Such as wives and mothers, ex and current. It is said that a good director must have extensive knowledge, and Fellini's psychological attainment is definitely a master. The following paragraph about Guido's memory after hours is even more incisive and wonderful in subconscious analysis.
There are a lot of smooth panning long takes in this film. Many directors use long shots to prove their strength, but the panning long shots of eight and a half films are absolutely unprecedented, and they have not been seen so far (it may be that I have watched too few films, and I found that there are more excellent ones that can be used by me. ), especially the section of the plaza territorial water. When I look back, I suddenly see a woman smiling awkwardly at the camera, a nun walking in a sluggish manner, an old man drinking healing water in a trance, a lady with a happy face shaking her head but sitting dignified, a priest walking in a hurry and thinking... A chorus of the slightly cheerful Barber Overture appears in the panning shot. It’s not difficult to shoot a long shot well, and it’s not difficult to portray a character well, but to portray each of the dozen people who appear in a panning long shot shot so full, vivid and accurate, Fellini not only has a powerful scene, Control ability, but also has incomparably delicate insight and imagination.
To talk about this movie, we must talk about his background music, the hoarse and slightly sad Italian ballads, the relaxed and casual swinging jazz, the unrestrained and sexy rumba, and the childish and absurd circus music, each of which is just right. Nilo Rota's music is really amazing, and he can see that the range of music he dabbles in is amazingly broad. His impeccable music and Fellini's already rhythmic shots work so seamlessly. Especially the part where Mario and Claudia twisted in the square with the swinging jazz, the feeling of being unrestrained and a little naughty is really beautiful. There is also the section where Saragina, with a big waist and a round unkempt face, dances wildly and wildly in the heroic rumba, inexplicably there is a kind of violent aesthetic pleasure in it.
I knew I would gossip when I started talking about this movie. Although there are still a lot of places, I haven't even developed the emotional line of the crucial protagonist, but I still gave up and just added one of my favorite shots at the end. Guido found Lusa in the crowd. Lusa was wearing a white round neck shirt, a simple knee-length black narrow skirt, a pair of black-rimmed glasses, and short hair, looking intellectual and wise. Guido didn't walk over to say hello immediately, but quietly followed behind Lusa, admiring her back until Lusa turned around and the two smiled at each other.
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