only about the girls in the video

Curtis 2022-03-22 09:02:50

I flipped through a few high-scoring movie reviews, I don't know if I missed it? Opinions that are repeated are purely similar.

Bomberman, Irish Revolutionary Brothers, Long Skirt Girl.

Bomb, leather brother, girl. The two flashbacks of the three people felt incomprehensible the first time I watched it. Second brush today, seems to feel like I have read something.

Straight to the point, I think the girl metaphor is a revolutionary ideal.

The bomb has been betrayed by Brother Ge, hated and doubted Brother Ge, and suspected the revolutionary friendship with Brother Ge. I think Bomb firmly believed in his own judgment and conclusion about Brother Ge. The only thing he had doubts was the expression on Brother Ge's face when he killed Brother Ge with his own hands. What Brother Ge showed was not the fear, annoyance, or remorse when the traitor was punished, but the calmness and relief of voluntary death.

Two flashbacks to what I thought were bombs.

Both Bomb and Brother Ge were intoxicated with girls when they were young, that is, the ideal of revolution. . In the first flashback, the bomb kisses the girl, but Gee doesn't. It means that the bomb believes that he is the one who is truly infatuated with revolutionary ideals and has a deeper revolutionary will. Although Brother Ge was happy in the process of chasing and approaching the revolutionary ideal, he was a little worse than the bomb. Therefore, there was a turning point when Brother Ge identified himself and betrayed his revolutionary comrades-in-arms.

But after many encounters with another betrayer, the doctor, Bomb began to reflect on his judgment on Brother Ge. The doctor used his life (without jumping off the train) to prove his revolutionary belief to the bomb, and used his life to repent of the sacrifices he brought to other comrades in arms.

Bomb thinks that Brother Ge may be like a doctor. Although he surrendered under the torture, he betrayed his revolutionary comrades-in-arms, but before (and even after) he was tortured, they were also people who truly and completely possessed revolutionary ideals! Although he failed the test of torture.

So in the second flashback, both Bomb and Gee kiss the girl. Yes, Bomb believes that he and Brother Ge had genuinely shared revolutionary ideals (before the torture), and he was not wrong at that time.

Betrayal under torture is an undoubted fact, but so is the sincere revolutionary ideal. Not every revolutionary is an iron man, and frustration and cowardice will not be eradicated by having revolutionary ideals.

Brother Ge's eyes and expressions before his death, and the choice of the doctor to follow the train to die, let the bomb finally choose to understand, believe and let go.

This also reflects the complexity of engaging in revolutionary causes. The only absolute in this world is that there is no such thing as absolute.

——————

A little experience, the judge laughed.

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Extended Reading
  • Alex 2022-03-25 09:01:21

    [A+] Every time you watch Leonne's movies, you always think how can he be so good at making movies? Whether it is the ability of scene scheduling in single or multiple shots, or the accumulation of emotions inside the picture and the montage cut intertwined in time and space, all of them reflect his terrifying film control. In the style of this "Revolutionary Past", Leone made a more commercial attempt, added a lot of humorous elements, and expanded the proportion of big scenes. However, despite this change, Leone still insists on his artistic creation. As the narrative progresses, the accumulated emotions and power continue to explode under the magic of images. Ideal revolutionaries, renegade revolutionaries, lonely revolutionaries, and revolutionaries who hate revolution, all of them can't see the whole picture of revolution, and they repeat one cycle after another under the erosion of desire. Morricone's score is undoubtedly a huge plus for the film, but without Leonne's orchestration behind it, these elegant melodies would be worthless.

  • Drew 2022-03-28 09:01:12

    There are still many places in the film that can be sculpted, and there are many shortcomings if you look carefully. And the story is far-fetched (more than one of Leone's films has this problem). But in the case of frequent situations in the early stage, the shooting was not sloppy. Based on this, it can be said that Leone's attitude is good, and he cares about his works and reputation.

Duck, You Sucker! quotes

  • [Juan runs to escape a horde of revolutionaries, but is grabbed by John]

    John H. Mallory: Where are you goin', for Christ's sake?

    Juan Miranda: I don't know. I don't know, but something's wrong! I went into the bank. But when I go in the bank, there's nothing there, no money, nothing.

    John H. Mallory: Oh, well, the bank and the money were transferred to Mexico City over a month ago. Well, they've been using this place for a political prison ever since.

    [Juan suddenly cocks his gun at John, who chuckles]

    Juan Miranda: What do you mean, a political prison?

    John H. Mallory: Well, I never said a thing about money. All I asked you was if you wanted to get inside.

    Juan Miranda: But you know that this bank is my life! This is my dream!

    John H. Mallory: Well, the reality of that is... you just liberated a hundred and fifty patriots through sheer courage in the face of danger.

    [giggles]

    John H. Mallory: Ah, yes... you're a grand hero of the revolution now. Viva Miranda.

    [the cheering crowd lifts Juan onto its shoulders]

    Juan Miranda: I don't wanna be a hero! All I want is the money, the money!

    John H. Mallory: VIVA MIRANDA!

    Juan Miranda: You taught me one thing!

    John H. Mallory: [laughing] What?

    Juan Miranda: How to get FUCKED!

    [gives John the finger]

  • Juan Miranda: What kinda work you do for the German? Listen, I asked you a question. What do you do for the German?

    John H. Mallory: I've been looking for silver.

    Juan Miranda: Silver? You know something? I don't understand you. I don't understand how you waste your time and your holy water looking for silver. To me, that's a sin.

    John H. Mallory: Do you have any better ideas?

    Juan Miranda: Si, I think gold is better than silver.

    John H. Mallory: Ah, there isn't any gold in these hills.

    Juan Miranda: Oh ho, yes there is! In Mesa Verde.

    John H. Mallory: Mesa Verde? It's a city.

    Juan Miranda: Of course it's a city! Who ever heard of having a bank in the country, huh?

    John H. Mallory: Uh huh. A bank?

    Juan Miranda: Not "a bank." *The bank!* The most beautiful, wonderful, fantastic, gorgeous, magnificent bank in the whole world! When you stand before the bank and you see it has the gates of gold, like it was the gates of heaven. And when you go inside, everything, *everything* is gold! Gold spittoons, gold handles, and money, money, money is everywhere. And you know, I know 'cause I saw this when I was eight years old. I went there with my father. He tried to rob the bank, but they caught him. But they will never catch me, eh, Papa?

    Papa Miranda: Right.

    Juan Miranda: Listen, Firecracker. Now you listen to me... listen, why don't you come with me, eh? And we will work together... and we will become rich.

    [chuckles]

    Juan Miranda: What the hell is your name?

    John H. Mallory: [wearily] Seán...

    Juan Miranda: What?

    John H. Mallory: John.

    Juan Miranda: What is your name?

    John H. Mallory: John.

    Juan Miranda: [laughs] That's fantastic, that is incredible, eh! My name is Juan and yours is John! It's Juan and John, eh? Heh, heh!

    John H. Mallory: So what?

    Juan Miranda: What do you mean, "So what?" Can't you understand that is... that is... the... oh... ah... destiny.

    [John remembers his girlfriend and friend]