When I watched this film at the Mage Exhibition, I sighed to myself several times: Nana will definitely be Kabylia's good sister. "Nights of Cabiria" and "As You Want" are like high-fives between Fellini and Godard.
Nana felt that it was her choice to fall into the dust, and it had nothing to do with others. She is free, she has the right to choose, she lives as she pleases, and she is responsible for what she wants. She shrugged and talked to her friend in a recitation-like tone, I raised my hand, I was responsible; I turned my head, I was responsible; I was unhappy, I was responsible; I closed my eyes, I was responsible; I forgot I have a responsibility, I still have... She is not grieving, she lends herself to others and keeps herself.
The same goes for Kabylia, miserable is not the right word for her. Although her life was not easy, she was still satisfied. She is not timid in front of big stars, you should see how she raised her eyebrows and pouted: I even have a thermometer! That's not to say she's material, it's just that she's more down-to-earth, doesn't express herself so fluently, and doesn't like to talk about life like Nana, she said that if she thinks too much, her brain will explode, with the Italian chicken claw gesture flying up and down .
It tells a story written by a child about a chicken. Chickens have inside and outside. Remove the outside and you see the inside. Remove the inside and you can find the soul.
For me, the deepest soul of Kabylia is the moment when I put on a garland under hypnosis and fall into fantasy on stage. The surreal fantasy of Mary Sue, which is so bloody, was so movingly photographed by Fellini.
And Nana's soulful moment may not be talking about philosophy in a coffee shop with strangers, but looking directly at Joan of Arc on the screen and shedding tears with her breath.
I was also impressed by the moment when the music on the coin-operated jukebox sounded. It's better to dance, Nana's dancing is not good-looking, the men either ignore or dislike it, it doesn't matter, she turns around happily, she leans against the pillar when the music stops, and there is a momentary sense of loss. Kabylia woke up from the fantasy and felt ashamed and at a loss. She also skipped a section, dancing on the street in homage to "Sing in the Rain", and suddenly became Jesomina in "The Great Road". It's not good-looking, it's not important, it's a casual dance of life. most important.
I couldn't help but boldly and hyper-subjectively guessed that Wong Kar-wai probably took a few traces of wandering souls from these two films and injected them into A Fei in "Chongqing Forest".
their ending. Kabylia stood on the cliff, and the man who was going to marry him asked, can you swim? The entire theater suddenly realized: Ah... This man is here to make money and kill again... Everyone is worried about her, accompanied by some light laughter: Why have you been deceived again... Empress Kabiliya After realizing it, fortunately, the man still had the last remaining goodwill, took her money and left her life. She walked down the road in the dark night, a group of kind-hearted strangers sang and danced around her, and a black tear fell on her smiling face. A godlike moment of glory, that wouldn't be reality, but Fellini couldn't bear it.
The good sister Nana was dragged by a pimped man to sell it to others. She resisted and wanted to escape, but was decisively shot and threw herself on the street. The movie ended. Godard is more ruthless and more realistic than Fellini. There are many soft voices coming from the theater, huh?
What does a movie time mean to them? Kabylia's raised eyebrows slowly lowered, and the dust girl in Fellini's movies always raised her eyebrows upwards, and the anger and joy were greater than her horror. Nana, on the other hand, had an increasingly frivolous look on her face, wrapping her coat casually like the woman on the street she had just seen, looking around, familiarly changing the direction of her shoe toes.
In the 1960s in French and Italian films, female characters who found a way for themselves were often standing on the street, just like Shanghai during the Republic of China in the film, independent women wearing cheongsams were either mistresses or spies, or... all... chaotic times With no support, I can only betray myself. After all, it was post-war Europe where gunshots would suddenly ring in my ears, and life itself was disordered and chaotic. Of course, the specific identity of fallen angels also comes with the contrast of giving their bodies to others and their own souls. This is especially true for Nana and Kabylia. The inner shell of emptiness and confusion is wrapped in noble self-esteem. They didn't completely break down.
At last year's Italian Masters Exhibition, a guided video of the director of the Bologna Film Archive was played before the screening. He looked at him with envy and turned his back to the super-large Amakord poster. Eyes, lead everyone to see the real Italy, to learn more about Italy in the 20th century, and to understand the essence of Italy.
A few simple but weighty words, those movies are by no means good-looking and glamorous in the traditional sense, and on the contrary, they are even about a poor beggar who refuses to work, a father who was caught stealing a bicycle, and an incompetent barking and crying in confusion. Entertainers... He says those are the essence of Italy. I was very moved when I heard it.
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