Yan Nanfei appears once at the beginning and end of the film. ①The wild geese fly south to a warm place. The first time they appear is the longing and yearning of the men and women in love for life, and it is a symbol of the bright future of the subjective personal world; the reappearance at the end of the film is the sublimation of the spirit of the woman. , personal grief melted after the victory of the war, a symbol of a better future for Soviet collective society. ②The ticking of the clock also appears repeatedly. The clock is an objective bystander, it is precise and precise, and at times overly ruthless. Nor can the grief of the loss of a loved one reverse it. After the fascist bombing, the house was in ruins, and there was no furniture and equipment that carried family affection. Only the clock was still ticking stubbornly and ruthlessly. This clock occupies nearly one-third of the picture, showing the cruelty of the objective historical process and the sense of insignificance and powerlessness of human beings in front of it. ③The subjective perspective of Boris in the film is the woods that rotates with his body; Boris's subjective consciousness, running up the spiral staircase and marrying Veronica; the floating wedding dress is enlarged in part, giving the entire lens a hazy poetic feeling. From the association to the superimposition, the connection is quite natural, until Boris completely fell to the ground and delicately reproduced the rich psychology of a soldier before the temporary: memories and longings are intertwined. There are a lot of details in the movie that are worth thinking about, and also make people cry and move. It also brings out the cruelty of the war, which makes the people lose their loved ones' homes, but also inspires the lonely people to move forward with a sense of faith.
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