Did Neruda write the police, or did the people write Neruda
More than two or three big critics who came before Zhuyu emphasized Neruda's "naivety", and the argument was his attitude toward so-called "Stalinism"; So does a rock star" and so on. This can only prove once again Derek's accurate portrayal of China's "post-revolutionary atmosphere". The post-revolutionary cognitive device is enough to filter all capitalized revolutions out of the brain. It can not only be used to rewrite Chinese history, but also ensure that those with this safety valve in their heads can disregard all “politics” and “politics”. The confrontation is suppressed into the subconscious, manifesting as the tension between "politics" and "apart from politics".
The core of the film text is actually the "narrative". The first layer of narrative is how Neruda narrates the police officer, which is obvious; the result is that the police officer is "caught", the narrative is completely rewritten, and he finally admits that he is "the son of the people" rather than "the sheriff." son”, on the one hand, pleased that he was recognized as the “protagonist” like Neruda in the story rather than a supporting role, and left with a smile. The other side is how the "party" and the international communist movement that the party symbolizes narrates Neruda. It seems that the party members, the people, and the international left-wing cultural movement represented by Picasso are all just readers of Neruda's poetry, audiences of the cat-and-mouse game between Neruda and the police officers, albeit clearly on Neruda's side. Neruda wrote poems, passed them on, and they read, moved, and talked to comfort themselves. But in fact, Neruda is the passive side of the relationship. This is not only to say that the whole process of escape is inseparable from the planning, arrangements and even sacrifice of the party organization, nor does it mean that Neruda was repeatedly covered by the people during his escape (in brothels, in photo studios, in the original southern Araucan region Inhabitants’ farms), but rather, in the film, male prostitutes, al-Shabaab members, middle-aged female party members, and Picasso on the international left-wing cultural stage all “narrate” Neruda, just as Neruda did That's what the police do. Neruda repeatedly asked himself not to assume the role of the "protagonist" in the film; on the one hand, he did have a strong urge to dramatize himself. He played Lawrence of Arabia, and he pursued the drama of the escape process; on the other hand, his This tendency is interrupted at any time by the voice of the party, whether it is the revelation of his special status by a middle-aged female party member at a party, or the young party member of obvious Indian descent who protects him saying "you just want a grand escape", although he At the time, they seemed to be just joking or being silent, but then they immediately changed their action strategies and routes.
Therefore, the police officer's last smile was still a "misrecognition". He thought that he had been admitted by Neruda as the "protagonist". In fact, in this film, there was no "protagonist" or protagonist, nor did he That is, there are no heroes (all "hero"); because the real "hero" is the party and the people it unites. It was not his poems that gave Neruda his strength, but the "ten thousand workers" who could listen to him read them quietly. But just chasing Neruda, if you want to get his recognition, of course, it is impossible to really catch him. It's a Brecht-style flip, and it's important to see what choices the "spectators" of this hunt are making! They should know what to do!
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