To be honest, I didn't understand the intention... (The scene of throwing the human bones into the river at the end was to persuade humans not to kill each other for their own selfish interests... Teacher Musk called me an expert!)
Although I didn't understand it, I have seen many times in Abbas's films with lens language that is very different from traditional films. The most obvious way to deal with the three films is the separation of sound and picture. The unusually vivid dialogues and background sounds leave a rich space for imagination. No matter how noisy the voices are and how intense the dialogues are, they are not given to the camera, but only a close-up of a character outside the core of the contradiction is left to show that he is listening.
Strange to say, this way of handling instead brings a strong sense of substitution, as if the audience has become a close-up person in the play, and is fully involved in the plot.
Another very special lens language is the frequent use of large panoramas, especially in the in-car dialogue scenes where close-up cross-cut lenses are commonly used. Abbas is an anomaly, using a large number of panoramic lenses. closeup. It was the first time I saw this kind of treatment, and I felt very awkward. I couldn't help but want to spy on the speaker's face, but after a few scenes, I slowly discovered the fields, barren mountains, lonely ridges, and woods under the big panorama. The winding paths, the vast sky, are so beautiful, their expressiveness is far better than the face of the person who is talking, how boring the human face is in comparison! After the three films, I have fallen in love with Abbas' panoramic lens.
Similar to the background of "The Lover Under the Olive Tree", this film is also a story that happened in the countryside, a slow-paced life, sitting in a teahouse at the village entrance on the stone pier outside the house is an old man for a day, a simple villager who is not affected by modern times. The paradise disturbed by civilization is not a paradise, but it is also a good place to live and work in peace and contentment. I really like Abbas's gentle and restrained expression of country life, without the slightest pretence.
The car is an important image shared by the three films. The protagonists drive a model representative of modern civilization and shuttle through the "primitive" villages that are still lit with kerosene lamps. Each protagonist actively invites passing villagers to come on board car, and give them a ride. The villagers' attitude towards this modern-day steel beast is neither flattering nor indifferent, it seems to them that it is optional. I don't know if this conveys Abbas's feeling of "reaching and helping the world". After watching the three films, I had a strong idea: If I were an Iranian off-road vehicle manufacturer, I would definitely find Mr. Abbas to speak for me! ! !
The introduction of the cast and crew at the beginning of the film is full of Arabic, and only a few places have been translated, namely the director Abbas, the editor Abbas, the screenwriter Abbas, and the producer Abbas. Has the long-cherished dream of the unity of director and director finally come true? ! ! If art can really be free from the influence of economy, how happy it would be! Salute to the master!
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