Which lens should I use for the footnote of "The Great Road"?
Is it a depth of field shot of Zombano and Jesomina sleeping together in a monastery? Jesomina asked, "Would you be a little sad if I died?" In the great shadow of Zombaano, she played the trumpet;
Or the subjective shot of Zombano leaving Jessomina? Very reluctant but resolutely drifting away, that is the last shot of Jesomina, except for her body (or death), she has nothing to contribute;
Or that short long shot of Zombano's brawl outside the bar? The drunken person is surrounded by a black background, gradually forced from the distant view to the close view, and the pain is magnified little by little;
Or it was the crying scene at the end, I no longer doubt that Zombano had loved Jessomena, and even Jessomena had felt this love.
Why didn't she accept another love? From the naive tightrope walker, the man who predicted his untimely death, he fell in love with her at first sight, and by accident, gave his life for it.
"If it weren't for me, who would want to be with you?" Is that the whole reason why Jessomina never gave up on Zombaano? Jesomina, unable to distinguish between love and kinship, treats Zambano with a kind of blood and responsibility, as if born with an obligation to save him.
Isn't this a kind of romanticism? Fellini has no intention of dissecting the realist basis of love, which, like his sexual fantasies after "Eight and a Half", arises out of thin air without reason.
Years later, the already fat Zambano took out the six-millimeter-thick iron chain again, and the chanting repeated countless times (they even lasted longer than Jesomina), but heard the older song. .
Chains, chanting, sea and song, they are the relics where barbarism and love coexisted.
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