Fellini on the first big screen. "La Dolce Vita" is a movie for me: Maddalena, who lives a high-class life but calls herself a prostitute, is indeed a dancer in "Lola"; the suburban apartment where the Steiner family lives and the mushroom cloud outside the window The shape of the building reminds me of Antonioni's Eclipse.
The plot of Steiner killing two children and then committing suicide vaguely echoes the themes of the desire for salvation and world-weariness in Tarkovsky's later works, and this tragedy is actually foreshadowed, Steiner said after kissing the children: "They What kind of future will there be? I was told that the end was coming as soon as I made a phone call." This line formed a kind of wonderful echo of the classic scene in Lao Tower's "Sacrifice" later, the man who was told that the third world war was coming. They ended up burning down their house.
The carnival scenes in Fellini’s films always remind me of Rococo banquet paintings, such as Nicola Lanclair’s comedian, surrounded by a huge fantasy, leaving him alone and stiff The ground faces the world outside the painting. Sober after getting drunk, loneliness after the song ends.
The same is true of "Sweet Life". I always feel colder and colder at the end. The coldness comes from the noisy crowd. The more fascinated Marcello is on the screen, the more the audience can feel the deadly coldness in his heart. .
As a tabloid reporter Marcello is exactly what Benjamin defines as a hangover, living on scandals on the streets and fascinated by that type of magic circle, so the female characters in the film all represent a certain type. Love: maternal love, prostitute's love, sister's love, lover's love. Therefore they are also commodities, and their mysterious charm is equal to the charm of things.
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