#2020.11.07小西天#Look at the sinking ship again
In the end, I found that I had the same feeling about the film as I did the first two times I watched it, it didn't lead me to find the right readable text and characterize the characters, but I was exactly fascinated by the characters. The encounters and situations that attract a character to feel his emotional experience explain why people are willing to identify with how alienated Marcello's life is or to believe that they have a certain tendency to glimpse modern life. I initially found that what I saw in Fellini's structured films was fragmented, the fragmentation was somehow structured and worked, and if that treatment didn't help the story, then the character's Emotions at least form a continuous tie, after all, we only have one protagonist, and it is still a narrative film. In this way, if a film presents a certain emotional change of the character, just as Deleuze explained that the character is in a strange situation and achieves the sameness with the audience, at this time, the moving-image is transformed into a pure audio-visual situation, and the audience is highly integrated into the emotional experience of the characters. Just as Rossellini's films about modernity and Italy in the early 1950s do, the audience has to follow the characters into his situations. In La Dolce Vita, Fellini neither pays attention to the characters in what Bazin calls a non-narrative "oasis", as in his three previous films about modern life in succession, but rather chooses to fill the oasis Throughout the desert, he did not let the characters do some coherent actions all the time, appear in a certain place, or form certain situations. The clumps of disjointed stories, one solid proof is that the characters who appear in these scenes are all living different lives and in completely different worlds.
A little digression is that Fellini gave up the last slut Roubini he left. For filming, he needed to go a step further. He didn't want to shoot repeated episodes anymore, so he changed to a Roubini. He is eager to create new things and has strong ambitions, so he uses Marcello Rubini to show almost all aspects of Italy's three religions and nine streams, dying Intellectuals, journalists who are almost ecstatic who are often full of comedy, rich women who are addicted to intoxicated and often depressed and depressed, energetic female stars who know nothing about the true feelings, etc., including those who are chasing the new symbols of the statue of Christ The beautiful flesh or the sissy posing at the reception, and the presence of the angel who symbolizes redemption and holiness above all else. One thing to note here is that the meaning of these characters and their actions almost occupy the screen, more than themselves, the film seems to be constantly intercepting the cross-section of society, and showing some symbolic phenomena in society. First, the Christ statue. This disappearance of divinity is based on the fact that several journalists are grabbing profits while satisfying their sensual needs, which in itself is a landmark opening of the film, which is impressive. A very important one - the impossibility of communication - is used at the beginning and at the end, which is obvious, in fact it has appeared in many places in the film, such as when the female star first arrived in Italy to produce Some small jokes made by the translator and her for the audience when people answered reporters' questions, or an important scene in the film: the lustful dialogue between Madeleine and Marcello across the room, in fact, this scene was paid for Rini broke through, originally full of ambiguity, the two could not meet across the space. Through some kind of communication with reverberating voice, they completely released the emotions of desire and emptiness, which was very attractive, and the man who entered later. Breaking everything down, it became clear what Fellini meant. However, this reflects the design sense of this fascinating field to a certain extent and reduces the meaning of this field, but at the same time, its communication failure is bound to be clearly reflected. Another example is Marcello, the man who seeks the meaning of life, his poor embarrassed mistress Emma in pursuit of true love, who, after a night of prostitution, returns to his place, always separated by a dark In the unfinished apartment in the long and narrow corridor, the audience saw his sincerity. He cared so much about the woman who was trying to end her life. He cried out his name to the vegetative person on the hospital bed. , looks like some over-the-top Hollywood melodrama. However, his communication when he may be truly aware of his emotions is bound to be It's a failure, it's one-way. It made me realize that he wanted the camera movement to be as rich as possible everywhere, and this scene in the hospital gave me a master shot of an overly long, oversized hospital hall that was far from modern. How close is the distance in the movie, Fellini, his attitude towards this church hospital and the attitude of the nun who is far away from Marcello can't be clearer.
But there is one more point that can be proved, which is the core idea he uses in this film: the cross-contrast of the blob-like structure. Immediately after the quiet scene, we arrived at the airport, with a loud roar, and we were led to a group of unfamiliar reporters rushing towards a smiling female star. When we found Marcello again, we found that the emotion of crying just now completely dissipated, which is obviously another story. But what kind of feeling does it bring? It's a kind of abrupt break and destruction, and then to examine the latter passage, we find that he had a brief conversation with Steiner in the church and listened to Steiner's bombardment. After a short passage of the gospel, it switches to a huge scene - a place of raucous prayers - which has been eroded by news and consumerism into a completely opposite and absurd place of prayer. This intense contrast between scenes is in a quiet, in a sense: the sacred scene needs to be immediately switched to a consuming, flustered, or at least noisy scene, and this break from tranquility is the treatment of Marcello. The core idea of emotional change. To use a metaphor, it seems that Marcello is a person who, like the audience, knows nothing about the story and his own life and has no opinion. In fact, Marcello is a person who is confused and crawling in the dark society. The contrast seems to be two forces, one is destroying him and the other is saving him. This contrast exists in each of the twelve clump scenes, and on this level, the chain of the film is complete and coherent, he is not dealing with "blank" and "calling structure" deliberately, I am walking out When he heard the audience mention this at the cinema, he noticed the blank space, which seemed to be the case on the surface. There was indeed no strict logical chain between the scenes. How quickly these "blanks" can be pieced together when a scene breaks past scene experience, it doesn't work at all. As a viewing, one only needs to feel the panting or nervousness caused by the switching in that scene, and then watch what he is experiencing to understand how his "sweetness of life" is constructed and collapsed. For example, in the first scene that doesn't help the story, we see the statue of Jesus, followed by two muscular dancers performing a religious dance, who straight up, connects the sacred and the consumption, so intuitively, in the As the close-up of the mask opens, we already feel that something is wrong.
We see the camera movement of Fellini dealing with those raucous scenes, which is really the prelude to "Eight and a Half", but in those sacred scenes we often see either a big panorama from above or a fixed length of the panorama. lens. Using this method of shooting gives us an intuition about the changing of the scene, we accept the conflict between the scenes, and then we have to follow the characters. In "Patricia", which appeared at the beginning, reappeared in a suburban restaurant, the angel of Fellini's heart appeared, this image may be reduced to something of a code nature, but she really Dispelled all the negative emotions of Marcello and made him reconcile with his wife. At this point in the movie, he already has enough influence factors, both good and evil. Under this influence, something must happen in Marcello. These reactions, so we see his delay, his multiplicity, in his passage with his father, and then the fear and loneliness of the child who has left his father when he meets Madeleine again. We need to pay attention to how the camera allows us, as viewers, to be affected by the character's experience, and when Marcello walks into an evening salon at Steiner's house, the camera veiledly asks Steiner to look at the camera, Then, very briefly, Steiner immediately turned his eyes away, and then Marcello entered the painting. This carefully handled transformation is very clever. It is neither objective nor subjective. It quietly forms a hint and a psychological effect. Secretly acting on everyone who sees the shot in its entirety, the shot is utterly stunning. Such a treatment reappears in the scene where Marcello copulates with another terrifying woman after failing to find Madeleine in the old mansion, and in the final scene of the movie - after Marcello's angel fails to communicate with him A symbolic turn to look at the camera fades out, and that's impressive enough.
Undoubtedly, Fellini is exceptionally rational in this film, more so than he has ever been. If you think that this kind of choreography is arbitrary or subjective, it is really the biggest misunderstanding of this kind of arrangement. The entire film, so to speak, is a translation, and it stems from an idea of Fellini, but the scenes—not including the psychological design—are coded translations and symbolic actions and scenes. selection combination. If you observe the logic, you will find that the corresponding plot is added when it needs to show a certain aspect of emotion. It can be said that there is no plot, and it should be the corresponding social style or the relationship between the characters acting on the characters. The clearest logical chain of the film appears at the end of the film when his spiritual coordinate, Steiner, who has a "sweet life" but is not well acquainted with, chooses to destroy himself in Marche. Luo saw the most precious thing, but for that reason, Marcello had heard him confide, but he did not understand. Of course, communication in this sense is useless.
Fellini alleges that he meant "the sweetness of life" rather than "the sweet life", and in this clump structure, theming is inevitable, and he shows prostitutes living in resettlement houses in the new district under the accusation of " The pressure of negligence caused the two to spend the night in her house, naively speculating that they were married. On the other side is the picture of a female star who is like the fast-moving news on the top of the tower and a group of people who are under the influence but unable to do what they want. Marcello put all his praise on the female star, saying in the fountain in the Roman Forum that she is " mother" and his father revealed that he hadn't greeted his real mother in a long time, and that this "mother"'s motherly love apparently rested only on emotional motherhood of cats, and put those motherhoods aside at the sight of the beautiful scenery. Madeleine is completely lost in the emotional wilderness, Steiner is despairing of the world as a villain, and Emma stands on the opposite side of all the characters who come into contact with Marcello, who is the most unacceptable inferior of Marcello. Life, Marcello, he was after the "sweet life".
In the end, Fellini explained that it wasn't that Marcello couldn't hear, but rather that he didn't want to hear it.
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