Touring Italy is completely emotional, not just because it goes to great lengths to stay true to its emotional description, but because it builds the scene with a flow of emotion. On the whole, its rich emotional performance, emotionally-led action and dialogue writing, delicate subtext and switching between single shots and double shots, as well as the specific handling of the mise-en-scene where the positional relationships of those characters change, it shows a kind of Precise tendencies, but without losing a strong focus on the characters' emotions. After all, Rossellini's rationality presented by the logic of the film is not enough to outweigh his precise control of subtle emotions. The whole film seems logical, but in fact, it is free.
The film's opening scene - the driving scene - quickly sets up a moving, precarious, airtight scene as they drive to a predetermined target location that is unfamiliar and unfamiliar to the characters. A certain unknown scene, it is more like an island-like existence for the characters. For this camera angle and its functionality in the script, it is not difficult for us to think of the family driving on the road to the overview hotel in "The Shining" If the danger of this journey is uncertain for the characters, they are at least unknown and full of uncertainty. In other words, this uncertainty is constructed through the driving scene leading to the target scene. was established. Back in the car, we can see that the man is sleeping, the woman is driving, and the car is lifeless. It was not until the man woke up to control the car that the two had some informative dialogue. It is worth noting that in the process of changing positions, the man felt uncomfortable because he got out of the car and saw the passing car, showing a strong sense of identity and a certain tendency to reject. This feature maintains a high degree of consistency before and after, directly Relevant to characters rather than ideological tendencies. Afterwards, the issues that the two talked about after some information dialogues were no different from men’s career issues and directly to the emotional nature of the two. Basically, before the midpoint of the film, the conversation between men and women about marriage issues belonged to women. It is written in a straightforward or suggestive way, as if it took great effort, while the man's dialogue is mainly omission and prevarication, which is easy and natural. The scene construction when the two came to the bar was very light. Rossellini separated the characters as far as possible, and constructed a single-shot sparring with viewpoint shots, and then used viewpoint shots and sound processing. The characters from the narrative viewpoint and the violinist who are constantly approaching are supplemented by passers-by or friends sitting next to them. This approach to character building is more apparent in the latter wake-up scene, where he orchestrates a deep structure of contextual relationships, where the man immediately leaves the scene when the woman talks about the unsettling emotional issues she cares about, and the woman's The single shot is built very smoothly.
Regarding the characters, "Visit Italy" is not as explicitly dramatic as "Love on the Edge of a Volcano" or "1951 Europe", it is more emotional, complex and ambiguous, so to speak, it is more close to life itself. After dinner in the villa, when the two were sunbathing on the terrace, the man was first treated as a thirsty person who could not face his wife calmly and enjoy spending time with his wife, and then he was a little nervous, unwilling to sit down, and finally the two were talking about A man's interest in the negative emotions of a former friend of his wife's friend of the opposite sex ends in a disturbing double shot of the proportions of the characters in disdain and irony of the late poet. In between, there is an episode for the man that fits the woman's description of him. The man is described as rude by a maid due to language barriers and cultural differences. This may not have anything to do with the character, but he is in a dark room where no one is paying attention. He showed his slight emotional changes in the novel. He was very sensitive to the maid's attitude towards his words, and responded with malicious questions about his class status, which is very important to the character. After visiting the museum the man just piled up his prejudice against the meaningless pursuit of women's romanticism, and then, again, at a banquet, the relationship reached a so far broken climax when the two returned home, only the banquet The scene where the power relationship between the two people is reversed is the midpoint of the script.
Women's complaints about men are almost always carried out in the car, including the phenomenon of young couples and baby boomers she sees in the car, and there are also scenes of men and strange women on the moral edge of the car. This both allows her to think about her given life as she walks through the street scene in order to explain her next actions, and at the same time explains the emotionally closed effect of the scene—in the car. The subsequent ambiguous progression of the man's relationship with a woman other than the previously presupposed woman, Judy, is juxtaposed with the woman's journey through a disturbing and echoing repressive and crater scene. The different effects of these scenes on the characters, who are often at a banquet or in different situations in history, are reflected in the subtle changes in their moods after them—insensitive or emotionally charged. In the last three symbolic scenes: watching the excavation of the ancient city of Pompeii, the two people walking alone in the empty scene when leaving, and the crowd scene that caused the disintegration, the scene was selected and constructed thoroughly with emotion, and the relationship between them walking in the empty scene is the same It's very emotional, like the scene where the two are alone at home, but the difference this time is like the complex emotion of feeling the passage of time for the last time, the whole walk takes a long time to shoot, even though they have finished speaking. Finally, all the emotions are gathered together with the feeling of powerlessness that is entrained, forming a contrast in a crowded scene.
Rossellini's fixed-scenes lens also chooses a long panning lens. This time, it is not just a point-of-view shot for simply watching the scene. He always uses the open scene as the starting frame of the shot and then moves it to the outdoor characters to form a medium and close-up shot, or Move to the surface of a building and cut into the interior scene. He consciously connects the meaning of the scene with the characters who come here, so that they are clearly in a scene, inseparable, and form new meanings.
For this film I tend to compare it to Love at the Edge of a Volcano. It is clear that in this film it is not only because it shows the active appearance of the crater up close, it also presents the villa - the existence of this scene on the edge of the volcano - the terrace can be clearly seen in the background The volcano, which is what they came to this strange place in Naples. And the essence of the internal movements of its active volcano is exactly what Rossellini wanted to say: the uncertainty and instability of interpersonal relationships in flux . Similarly, when Bergman's character first went to Stromboli Island, she took a boat that made her physically uncomfortable. The functional significance of this boat was no different from that of driving. In the scene of this isolated island, she seemed to be trapped on the island. The setting of no ability to leave is clear, but she chose to enter the scene independently, so the beauty of that movie is that the character's independent choice determines that she has no clear dramatic motive, and uses all her energy to deal with the character's feeling scene Therefore, during the construction of unfamiliar scenes and the audience following the characters to feel the scene, the audience and the characters achieve the sameness, and the scene construction is completed in the flow of emotion. On this basis, the scene of the isolated island is very similar to Naples in "Visit Italy", it is like some kind of self-chosen cage that needs to be fully confirmed. In that emotionally rich scene: the woman plays cards alone at home, while the wife keeps turning the lights on and off after the husband enters the door, with some inexplicable dialogue, the woman plays cards, the same as the woman in "Love on the Edge of a Volcano". There is an essential similarity in the drama of escaping from a labyrinthine island and finally leaning over a stone wall and talking to blades of grass.
There is a distinct difference in this dramatic situation, which leads to different characters and different choices made by characters in the same scene. The opening scene of "Volcano's Edge" is that a woman comes to a barbed wire connected to the military camp to flirt with a dark-skinned soldier. The barriers to their communication and the impossibility of intimacy are set in the opening scene through the barbed wire, as if it is already a certainty. class issues are generally irreconcilable. Then they came to the boat and went to the island. A series of processes. The woman's intractability to personal identity and the blind pursuit of industrial civilization made the drama between her and her native husband on the island obvious. Compared with "Visit Italy", it is obvious that the scene is omitted. They start directly in the driving scene, omit the scene where they make a conclusion about their interpersonal relationships, and directly use the amount of information to indicate that they have been married for eight years and go to the outside of the target scene. Motivation, while the other one does not, it must be marked clearly how the relationship between the two is a state of estrangement, which is no coincidence.
Likewise, in the noisy scene after the characters' relationship collapses, due to the disparate characters, one shows deep rejection and disgust, and tries to plan to escape immediately; the other shows a dependence on her husband and shouts loudly his name for help. Therefore, the bridging of this kind of character relationship is not always in noisy scenes, and the split is always in solitude scenes or closed scenes. It is not an eternal methodology. She can lust for a priest in a alone scene, or stare at the cards while alone. At this time, if we use the same scene, what is the difference? In fact, we need to pay attention to the subtle reactions of those scenes to our psychology. At the same time, using a wide-angle lens and a large scene or a small scene with a telephoto lens is also different. A big impact, as Orson Welles uses a lot of wide-angle lenses to shoot up the ceiling of the people shots.
Rossellini uses emotions as the main thread to support the story, and then uses these emotions to construct the scenes he needs to express the motifs he wants to express. Not caring about the plot of the story, the highly emotional narrative uses the scene to form an invisible river inside.
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