To what extent can one film "connect" to another film? As far as the movie itself is concerned, the most direct and most common way is to directly play a fragment of another movie in the movie, if we do not want to over-explain the wishful thinking of boring movie fans like us, the “quoted” movie sometimes Purely as a background, sometimes interrelated, or ironic, or interpretive with the referenced film. In addition, such as reproducing the clips of the referenced films in a similar way, called "tribute", and more direct remakes and adaptations... With the diversification of film storage media, film practitioners can more conveniently Watching films, from Godard to Quentin, the relationship between films has been expanded too many dimensions.
Ceylon used to quote Angelopoulos' "Landscape in the Fog" and Sergio Leone's "Once Upon a Time in the West" in the soundtracks of "Far Away" and "Season for Parting". "Distant" is in the middle and later part of the film. My cousin is hanging out in the city center. He gets on the bus. There is an empty shot of the street scene from a subjective perspective. Landscape" theme phrase. "The Season Suitable for Breaking Up" is after the husband and wife broke up, the husband ran to the location of the wife's TV drama crew. It was a remote town and was hit by a snowstorm. After the husband arrived, he couldn't find his wife alone, and he didn't go to the village. Without going to the store, the voice quoted the background sound at the beginning of the prologue paragraph of "Once Upon a Time in the West", which was a section of the wooden door of the train station being blown by the wind in the desert, and the hinge of the door creaked due to lack of oil. It is used here to give the definition of "desolation", and satirize the husband's wishful thinking to chase him into the distance, but he was empty, there is a kind of embarrassing situation. At the time, Ceylon was an up-and-coming director willing to show a sense of humor.
The freedom of independent production gives filmmakers plenty of fun, and they don’t have to worry about overplaying. They can organize “materials” to their heart’s content, and use materials from past films to create a certain atmosphere in their own films. Creations that are not limited by capital can maintain the most naive "playing heart".
Aside from the "take" of the sound clips, is there a more interesting connection between the works of Ceylon and Leone?
Once upon a time, translated as "before...", "a long time ago...", or "...the past". All the works translated as "XX Past Events" are of varying standards, to the effect of some people and events in the past. Only "Once Upon a Time in Anatolia" (or "Once Upon a Time in Asia Minor") does not have obvious traces of the age, but more like something that happened in the present. If the text is wrong, it has always produced richer meanings, and it is more like a rhetorical device here in Ceylon.
A film reporter revealed that director To Qifeng commented on "Once Upon a Time in Anatolia" that "it took too much time and said too little." This is difficult to verify. In terms of the amount of information, the past of Ceylon is definitely more than that of Ceylon. There are too many "Underworld" series, that is Director Du's "past". But this does not mean that all "past events" should contain a huge amount of information. Ceylon's past events are more concerned with the situation of the characters. From a dramatic point of view, the situation has historical universality. That is to say, Anatolia The events that these few people are involved in day and night, their words and deeds and their inner state, may happen in any past or future time and space.
Suppose the doctors, prosecutors, police officers, and suspects in "Once Upon a Time in Anatolia" were in the western United States and faced the railroad shop at their door. How would they react? Maybe no one plays the harmonica, but there will always be chatter; maybe no revenge, but someone may die because of some occasional emotion; even if no one cares about the railway being built all the way to the sea, someone may want to escape his wife's suicide motivation.
What is "the past"? I think it is a legend outside the official history. Independent of all forms of official accounts, such as special history, local chronicles, general history..., the past is closer to "unofficial history". It's just that the characters in the past are not as famous as the characters in the unofficial history, they are all individuals forgotten by history. Roughly speaking, the past represents a certain historical view of the author. However, the past of Ceylon happened in the process of obtaining evidence and interrogation of a murder case. What is the historical view? Ceylon's belief is Chekhov, who pays attention to people's words, deeds and thoughts under certain circumstances. After civilization, people have a virtue. This view of history is quite depressing, not romantic at all, but it is a joy to be dejected.
The prelude of "Once Upon a Time in Anatolia" is an abstract long-range shot, a space that can be a garage at any location, three men drinking and laughing in it, in front of the door is a wide road, with heavy trucks passing by, As night fell, no one was around. After the black field, switch to the farther and more desolate hills. In the middle of the night, only the high beams of the car. Prosecutors, police officers, suspects, doctors, soldiers, and farmers formed a small convoy, meandering on the inter-provincial highway, blindly searching for the victim. The body of the murdered man.
The suspect pointed to the wrong burial location many times, intentionally or unintentionally. Every time the car stopped, the hired farmers would carry shovels to dig. The foreground is everyone who is allowed to speak, gossiping about non-homicide-related trivialities or complaining about procedural cumbersomeness. Every excavation was unsuccessful, they could not find a body, and there was no evidence of killing.
Each excavation site is located near the spring, and the brick-built spring pools flow water day and night, which is the water vein of Asia Minor. Where there is water, there will be human settlements, which will lead to human activities and the so-called civilization. Ceylon arranged to exhume corpses near every spring, to express that civilization is always accompanied by invisible killings. Every time the statement was unreliable, the suspect pushed the police officer out of control, and then was beaten and kicked, I am afraid that he himself had forgotten the crime of murder.
With an extremely abstract high-beam light source, the scene is illuminated on and off, and the empty hills and meadows are compressed into a staged scenery. Everyone is waiting in vain to find the body. The identities of the characters are also abstracted into representative settings, such as sheriff, doctor, prosecutor, sergeant, suspect, farmer, assistant prosecutor, police officer, and driver. Everyone, not flattened by identity abstraction, they are all concrete "that one" person.
The sheriff is the representative of the violent machine, but he is also the most emotional person. He is out of control because of the suspect's repeated mis-pointing. He is also sympathetic to the suspect's experience, and he is also angry because of the details of the suspect's crime. The child of the sheriff's family was born with disabilities. In order not to face despair all day long, he was hired back to serve as the sheriff. He asked the doctor to prescribe medicine for the child; but he also maintained his self-esteem and emphasized to his subordinates that "my son has such a strange disease because he is too smart." When he was parting, he also persuaded the doctor to leave this place. He believed that the doctor should go to the big city to make a difference.
The prosecutor is a person who collects criminal evidence. He acts calmly, speaks in an orderly manner, and maintains a prudent objectivity. However, he also likes to take advantage of small things. He would disturb the village chief's family in the middle of the night, ask them to get up for a late-night snack, and even eat and take away a jar of honey. He also likes to joke, next to the corpse, dictating the state of the corpse, he quietly added that the deceased looked like Clark Gable. In front of the doctor, his stability gradually collapsed. Under the scrutiny of medicine, he became a guilty person and an escapist. Because of the whole night of searching for evidence of the crime, he was inspired to confess and "confess" to the doctor. .
The doctor is the most objective person, from a naturalistic point of view, he is the closest to the truth, and he also has the right to draw conclusions (literally). But the doctor finally covered up part of the truth and did not explain the motive. As far as the behavior given in the film, what you see is what you get, we can simply summarize it as: the doctor found evidence that the murderer buried the dead alive, but for some reason, when he dictated the autopsy report to the assistant prosecutor, he covered up the buried alive. evidence. The truth revealed by the deceased's body was omitted by the doctor's dictation. The prosecutor's assistant recorded the doctor's statement, which became the official statement thereafter. After the baptism of time, it eventually became history. Interestingly, during the process of searching for the body, the doctor ran to urinate, and suddenly there was a lightning bolt. The doctor found a giant's face, a stone-carved human face, standing beside him. Because of the lightning, the doctor's urine was immediately scared back. At that moment, he witnessed some kind of historical relic, and it was only at that moment that he discovered it because of certain conditions. No trace since then.
After searching for the body all night, after being persuaded by the sheriff's good words, the doctor returned to the hospital and looked at the photos of himself when he was young. Rumors about the victim. Afterwards, he wandered among the scattered traditional Turkish town houses that were compressed into abstract paintings by overhead cameras. Back at the hospital, he first pointed out the cause of death of the beautiful woman in the prosecutor's mouth, and then encountered the deceased's wife and children. Finally, he discovered the evidence of a live burial, and then covered up the evidence so that the murderer would not be further guilty. At this moment, he stared at the deceased's wife and children who were far away. He truly became a member of the town, not the romantic youth in the previous photos.
Police officers, drivers, soldiers, assistant prosecutors, and even the autopsy autopsy all took on the task of speaking. history. Farmers can only be instructed and have no chance to speak.
The suspect is the root of everything, he is the one who kills and forgets where the body is buried. He is the one who has a lover and a son, but not the legal status of a husband and a father. His motive for killing was a momentary emotion. After the killing, he did not forget to take care of his younger brother. He was injured by his own son with a stone thrown at the corner of his eye, and the son's anger stemmed from wanting to avenge his nominal father. In the middle of the night, a group of people encountered a power outage while eating at the village chief's house. The village chief's daughter came to serve tea with a candle. Under the candlelight, a priest-like virgin face triggered the suspect's memory. He "saw" that the friend he killed was beside him, and he remembered the evidence of the crime that he had chosen to forget.
In Ceylon's past, the killings were designed to have no cause, and the victims died unaware that their friends and wives were having an affair, or that their sons were actually theirs. I don't know any of this, so I don't have to die, but I was killed by my friends anyway. The murderer's other accomplice, that stupid fat man, always showed his innocence, asking for Coke as if he had never been involved in a murder, which was chilling.
Once Upon a Time in the West is an opera by Leone. Although his characters are all outside the history books, he chose a romanticized form of expression after all, convincing the audience with the charisma of the characters and behavior, and sighing the romantic characters with the fate of the times, which also represents his certain historical view of the American West. . In his story, the civilization represented by the railway is unstoppable. There are also a group of abstract characters around the railroad and the interests it carries: prostitutes, robbers, loners, thugs, capitalists, and farmers. These people are also people forgotten by history, but their gestures, every word and every action are full of tragedy, and they are finally wiped out by the rolling iron.
Compared with "Once Upon a Time in Anatolia", "Once Upon a Time in the West", which is also "Once Upon a Time", its characters stop at behavior, because there is a grand theme of fate above it. Leone's romanticized legend narrative emphasizes the tragic and sublimes a moment of historical change. He is an idealist who fears the fate of the times, and is the lovely Don Quixote. Ceylon, on the other hand, tries to simplify the behavior of the characters, focusing on their situation, even their emotions. The behavior is unmeasurable, and the emotions change rapidly. The willful is the living person. Outside of history, he truly lives in Anatolia.
Ceylon once claimed to be "a follower of Chekhov" many times during the interview. Judging from the sequence of his works, the closer he is to the present, the more clear he is. Chekhov's dramatic tension is not in the plot, not in the behavior, but in the "consciousness" of the characters. Trapped in the cocoon of their own destiny, they feel that they should break through the wall, but they can't move anyway. The sweet wife in "Hibernation" knows that she should be independent long ago, but she can't get rid of her habitual awareness of being attached to her husband. The writer of "Wild Pear Tree" felt that he should have faced life long ago, but he always used the name of writing to fight against the mediocrity he despised. They are all pinched candy figurines. They are conscious of being different because of their brilliance and enjoy the feeling of being noticed. in the hands of the craftsman, and mocked the shabbyness of the craftsman. "Wild Pear Tree" went a step further, the writer finally compromised, walked out of his identity as a writer, out of his hometown, but after the military service he still had to come back to his father, carrying his eternal sin, his father's attention, that piece For him, the tofu block briefing has become a sharp sword to torture his inferiority of human nature.
Watching "Distant" again, my cousin was always unaware and unaware of his despicableness. Until the end, when my cousin left, he subconsciously took out the half-pack of cigarettes left by his cousin, which was ridiculed by him. Inferior cigarettes, take a deep breath, as if aware of something, the film stops abruptly, the audience is stuck in the throat of Ceylon, and the smoke that was inhaled cannot be spit out.
Ceylon tried to express the natural environment that trapped the characters in Chekhov's writings, which is an extreme and vast historical environment. Cappadocia in "Hibernation" Landforms, the dry well in the countryside in "Wild Pear Tree", the woods in "Blue Clouds in May", the hills and wilderness in "Once Upon a Time in Anatolia". Ceylon traps the characters deeper, and for the romantics in Chekhov's works, Ceylon gives a more gloomy reality, the elementary school teacher in "Hibernation", the father in "Wild Pear Tree", "Anna" Sheriff in Once Upon a Time in Tolia. On this level, Ceylon is not as lovely as Chekhov. At this level, Ceylon is even less hard-hearted than Leone. In any "past events", Leone's character has the strength to carry the giant wheel of the times. Shane patted Jill's butt half-deadly, and the harmonica The guest left with Shane and his horse on the back, and Jill kept vigil with her husband's shotgun...
In "Once Upon a Time in Anatolia", the prosecutor finally faces the fact that his wife committed suicide because of his infidelity. He is understood, but he still exists as a prosecutor; the doctor chooses himself In order to stay in the town, he covered up his criminal evidence and continued to be trapped in the town. Because of this concealment, he made a real connection with the town. He intervened in the life of the town, just as the sheriff chose to re-employ his son because he escaped, and the prosecutor Asking for a jar of honey because of greed, the doctor has also become a local, but the starting point is more noble, but the motivation is not different from the two, they are all driven by the emotions that are instantly aroused in a specific situation.
In Ceylon's past, there are only specific people, and what they do is not important at all, there is no suspense, and it does not have any meaning. It's not like the big bosses who want to be "talkers" are exhausted, trying to whet the audience's appetite to see who is the winner. The prosecutor killed his wife, but he was still a prosecutor. The sheriff still had to prescribe medicine for his son. Even if the murderer was not charged with being buried alive, he could still die. The murderer's son and the deceased's wife still depended on each other. Their unpredictable behavior is just because of the emotions aroused by accidental situations. Together, they form fragments of history. Everyone is a conscious prisoner, and they are all sand in the torrent of history.
Limited by the cost of shooting, the independently produced "past events" had to use the present to imitate the past, less cuteness and vigor, and more frustration and bitterness. I'm still happy to believe that if Ceylon had the money, he might have made these old guys go to the Wild West and make a fuss, but it's a thing of the past when it's frustrating enough. Fortunately, Ceylon is outside the movie, and he has a strong axis when dealing with the current capital. "No money" Ceylon, cute and tough.
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