This is one of the assignments of the classic film appreciation class. It mainly tries to see how the director presents the movie fragments from the perspective of the director. Therefore, this article focuses on the descriptive analysis, but not the psychoanalysis of this dream. And I have to copy it again after coding, because the teacher has to write it by hand...orz
"Wild Strawberry" is a story about life and redemption directed and released by Swedish director Bergman in 1957. It starts with Isaac, the hero of the film, preparing to recall receiving an honorary degree. Through the dream of the hero on the journey, His conversations with his daughter-in-law, his mother, and the young hitchhikers on the road recreate the big events in his life and show his transformation. There is no lack of originality in this film, and I would like to take Isaac's first dream in this film, which is also the most "movie-like" fragment in my personal viewing experience so far, as the object of analysis for this assignment.
It needs to be pointed out that, except for the narration of the protagonist who guides the audience to the dream, all human voices are abandoned in this paragraph, that is, the interference of the outside world is abandoned.
The cue narration tells the audience that our protagonist lost his way on an empty street during his morning walk. At this time, he heard the sound of the bell ringing. Perhaps this, together with the close-up of the protagonist in the foreground and the street with the clock in the background, reminded the audience that the protagonist was going in the direction of the clock.
He turned his back to us and walked vertically into the picture. On the right side of the character stood a strange clock: it was like a street lamp standing upright, and under the clock were the icons of two big eyes. We can only hear the footsteps of the characters. The protagonist must be surprised by this. He walks up to this strange clock and finds that the clock has no hands. At this time, his heartbeat thumped, replacing the sound of his stopped footsteps. So he opened his pocket watch and was surprised to find that the pocket watch had no hands either. At this time his heartbeat continued. Taking off his hat and stroking his brain in confusion, he walked into the shadow of the clocks that had been shining on the street like street lamps, and leaned against the wall (this is the subconscious behavior of people when encountering confusing things— — looking for something to rely on), looking closely at this strange clock without hands, the camera zooms in on the protagonist, and we see him turn his head.
At this time, he turned around and continued to walk straight to the original direction. Due to the change of the camera, the position of the character changed from a deep shot to a horizontal shot. After walking slowly forward for a while, he stopped, hesitated for a while, turned and walked back quickly, past the strange clock, and returned to his original position. At this time, the panorama shot faded out and was quickly replaced by the close-up of the characters. Except for the characters in the picture, the background was all black. We saw him turn his head, followed by another street with different buildings. He looked back at the street with the strange clock, and found a man in similar attire standing just before the clock. He walked towards the man's back. The editing here appears to be incoherent, and the connection between the character's head turning and the next scene shows that the characters are not standing in the same position, and the latter is closer to the man's back than the former.
He walked into the man and stroked the man's left shoulder with his right hand. Perhaps under the combined force of the protagonist's hand and the man behind him, the man turned around. Note that the close-up of the camera at this point is on the protagonist, and what we see is his visibly frightened expression, which makes the audience consider why the protagonist is overwhelmed. In the next second, the audience saw a man whose facial features were wrinkled into dough and concentrated on his face. Here, the director's cleverness is shown, which not only brings suspense to the audience, but also quickly answers the suspense for the audience. Next is the same technique, we see the protagonist look down, head down, and then hear a sound, and see the man fall to the ground. The bell rang again, and the body of the man who fell to the ground turned into a dark liquid (only black can be seen in the black-and-white film) flowing. The protagonist looked up and looked for the source of the bell. He walked forward again, towards the direction he had planned to go but chose to go back out of fear. With the sound of the bell, we saw that the protagonist came to an intersection again. He saw two horse-drawn carriages passing by the corner of the street.
With the sound of bells and hooves, the carriage walked in the opposite direction of the protagonist's path. The protagonist's eyes follow the carriage. When the carriage passed the street light, one wheel was stuck by the street light and could not move forward. The unmanned carriage did not turn to avoid the streetlights, but kept hitting the streetlights until the wheels close to the streetlights fell off. The wheel rolled to the protagonist's side, and the protagonist was shocked. The wagon with one missing wheel is unbalanced and difficult to pull - through the creaking sound. The shot alternates between the protagonist and the details of the carriage, showing the protagonist beginning to take a closer look at the carriage. He saw the angel on the carriage decoration, and the coffin on the carriage. With a creak, the coffin fell off, and two horses galloped forward with the damaged carriage—now that their function of introducing the coffin had been fulfilled, it was time to let them go.
Only the protagonist and the coffin are left in the picture. As the carriage fell to the ground, the lid of the coffin shook open, revealing the hands of the person inside. The protagonist walked into the coffin, the hands inside went from stiff to stretched, the protagonist's body shook a little, we saw the hand in the coffin holding the hand of the protagonist to support the coffin... He saw that the person in the coffin looked like himself Touch the same! (The background sound is more urgent) He wants to break free, he wants to escape, the camera rotates between him and his face in the coffin, the camera zooms in and out... At this moment, he wakes up, confused. Eyes on the camera. Immediately get up, can't wait to go back home.
Such a peculiar dream was arranged by the director at the beginning of the whole story. It is undoubtedly the revelation of the protagonist's repentance and memories of his life. The clock without hands, the man who is about to fall apart, the man in the coffin with the same face as himself, the background is constantly changing. The death knell sounded, all of which showed his fear of his own death. It is this kind of fear that prompted him to recall and dream on the way back to his hometown, and the director also used the interludes brought by these clips to show the protagonist's journey of opening his heart by an indifferent and selfish man.
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