It made me aware for the first time that it is necessary to carefully review all the funism in the past when watching movies. Those wonderful moments of sudden drop, steep turn, distraction, excitement and sensory pleasure always let us relish after the event. When we enjoy the Tao, we feel a certain structural satisfaction, certain experiences (daily or within the limits of imagination) confirmed by the hobbies always surprise us, and certain imaginations (similar to deja vu in a dream) The joy of realization always makes us hard to extricate ourselves. So I always like to expect surprises in suspense, and expect something more exaggerated than we can imagine. Those single emotions that came to life with the end of the plot can always be chewed for a long time in future memories.
Of course, the tangible has its own tangible benefits. After we have gone through the film baptism in the Spielberg format, we will always appropriately express the same laughter, sigh, anger and sadness in the scene where we need to react. And these emotions , Will be included in a book called market research in a timely manner, so as to provide reference for the future film industry and serve for the manufacture of more sophisticated products. We call this kind of film a commercial film, or it can be counted as an artistic film with just the right depth and abstraction to cater to more interesting reading.
[Story]
A meteorite fell to a small town in Russia more than 20 years ago. A large number of people were killed. The villagers disappeared from this terrifying area. The military was tightly fortified because of this. Legend has it that there is an inner room in that area that can satisfy people's deepest wishes, and despair and suffering continue to drive people to venture into it. Stoka, an experienced stalker can smoothly pass through the ever-changing traps and traps on the way, and he has brought adventurers there many times. This time he took two travelers to the horror area. One is a decadent and blasphemous nihilistic writer, who is very popular with female readers. He wants to go there, perhaps for the discovery of inspiration, or just a purposeless one. Looking for excitement; the other is a physicist, reticent and silent, he carries empirical tools, and wants to measure the truth of the facts. During the journey, all real objects are specious. On the dilapidated site of the town, the water, terrain, objects, and even light and shadow are constantly changing. Finding the way to the inner room is arduous in the constant reflections, arguments and contradictions of the stalkers. It seems that there is always a negative will deliberately hindering people from reaching its core...
[Myth? Salvation? ]
This kind of pilgrimage-like search is undoubtedly the continuation and deepening of the motif of "on the road". The deep and melancholic earth complex of the Russians, the mysterious and pious understanding of religion, the consciousness of suffering and the legends of apocalyptic fables make this movie full of speculative charm... Such a narrative may have a certain degree of experience in art film viewing. Everyone can agree, but in front of the master, such descriptions will always appear superficial and pale, and all kinds of painstaking efforts to decipher the code will become ridiculous. Smart viewers always like to rationally sort out the various elements of the film, and make self-righteous destiny of all identifiable elements and fragments. Have those refinements, summaries, perceptions and recognitions reached the core of the director's thoughts? Is it possible to extract meaning from all movies?
Of course, we also have good reasons to believe that the existence of "a thousand hamlets" is necessary. Only in this way can we obtain the joy of thinking, expression or experience in continuous interpretation. In the interpretation of the "Stalker" that Tarkovsky is considered to be extremely obscure, I think that these thoughts or questions will not become secondary.
[The charm of black and white]
We know that Tarkovsky is neither a technocrat, nor does he pursue the montage effect of movies. He wrote in the book "Sculpting in Time": "The concept of montage movies is to use editing methods. Connecting the two concepts to create a new third concept seems to me to go against the nature of the film. "In his few films, the first thing that fascinates people is the technical processing and control of shooting. He can skillfully interweave black and white and color lenses. This grasp of the expressiveness and texture of film materials is extraordinary.
In this film, I noticed that in the real life and real memories of the characters, the narrative uses black and white shots. In the description of a specious and symbolic place like the "horror zone", the shots are colored. Does this imply the bleakness of real life and the abundance of the spiritual world?
The same cannot fail to mention Tasman's use of long shots and his control of the slow narrative rhythm. This slow movement of the mirror is heavy and soothing due to the rich meaning of its load. You can usually see the lens slowly passing through in the following scenes: clear water, rivers, sandbars, walls, ruins, broken walls, and fog. The countryside, the characters or livestock as the distant view, the trees or the doors and windows as the close view, the simple furnishings in the house. Such a poetic scene creates a deep and caring lyrical space. There is no dramatic color with strong contrast, no sudden violent movement and switching of shots. This calm and lonely narrative is effective enough to make us introspective. The space slowly opens, prompting us to establish a kind of thinking, imaginative and dialogue philosophical thinking in the meditation gaze. The ordinary objects in the lens that we are used to seeing are all mysterious and full of symbols because of this stagnant gaze.
[But water, water]
The image of water occupies an important position in Tasmanian movies. Of course, this understanding comes from the experience of watching movies. In the three movies I have watched, the image of water has appeared. In "Homesickness" and "Flying to Space", the calm water surface has become an indispensable artistic conception in the narrative. In the film "Stalker", water has become the core symbolic image.
On the way to the terrifying zone, there is a long moving mirror showing various scattered objects under the calm water: the statue of the Virgin, pistols, utensils, needles, etc.; outside the inner room, suddenly dropped from the ceiling The rain water and the water stains everywhere on the floor; and the waterfalls that gush out from between the ruined walls almost instantaneously.
The flowing, weak, and dynamic texture of water is undoubtedly the characteristic of Tasman’s fascination and performance. A monologue in the film may hint at the reason for this performance: "Hope is bound to be fulfilled, we must believe in it, and we cannot rely on it for a while. The enthusiasm of death...Death is dry and hard. Trees are soft when they grow. When they become dry, death comes. Hardness and strength live next to death. Elasticity and weakness are the symbols of youth. Solidification is no hope. "This kind of opposition to masculine philosophy and the pursuit of feminine and flexible survival may be an entrance to the interpretation of the film. Despite the suspicion of over-interpretation, this kind of dialogue still reminds us of the social situation of the Soviet Union in 1979, a deadly The faint echo of ideology lingers here.
[Science and Art Interpretation] The
three are walking on the road, one is a grassroots, one is a writer, and the other is a physicist. In such a philosophical movie, they are not allowed to argue and argue, it is almost Is impossible. So there was a conversation between them lying prone on the ground. Here is the writer’s acrimonious satire on scientists’ search for truth, thinking that it is an illusion of meaninglessness, while physicists are disdainful of the destiny of this meaning, believing that it is something Useless emptiness, useless artistic pursuit. And the devout stalker Stoka uses music to conclude. He said: "If you take music, it has the least relationship with reality, and at least there is no ideology.... But music directly echoes the soul of man. In the depths...what things in the body will resonate? I don’t know what just the connection of sound can be changed into joy, for what makes us so moved? For whom? Not for anything or for whom,...whatever There must be, and it must have value, value and reason."
For him as a stalker, can we understand him as someone who wanders outside of science and humanities? Understood as an "other" without the power of discourse, living forever in a place forgotten by history, all happiness, freedom and dignity can only be found in such a hidden symbolic space? At the end of the journey, tiredness and despair made him seriously ill. He returned to his dilapidated home. At this time, we were surprised to find that in his dilapidated home, the entire wall was full of books. It turned out that he was also a thinker.
Lying on the bed, he said painfully: "People who are persecuted like me can bring them here. I can do it all. I give them hope, and I can do it." However, the writer and professor are in harmony with each other. Those civilians are different, their vain, they want to change the sense of mission of others, and their shallow wisdom made Stoka deeply disgusted and suspicious, and he never wanted to take anyone to find that room again. Here, what is implied is the deep sadness after the destruction of the ultimate faith. At this time, the director’s camera turned, and in the way of filming a documentary, he asked his wife to face the camera as if they were interviewed, and said that she felt relieved and understood this painful life. Behind this difficult life, there is a kind of belief. She was supported by the power of her, and her following and belief in her husband deepened after her husband’s spiritual disillusionment.
[Unexplainable, miracle]
Although the tone of the final narrative is almost desperate, behind such suffering, we can still see a kind of belief and hope supporting it. Perhaps this search in the film is a search for the conscience, consciousness, self and soul of all mankind, and any search with a utilitarian purpose, no matter how noble it is (such as in the name of science and art), cannot Really arrive at the other shore of redemption (the other shore is invisible, even a process of merging the past and reality into the future).
Here, Tarkovsky has a deep insight into the inertia of human thinking and implicitly satirizes it. In addition, in the allegorical narrative, we seem to find that the stalker is almost a prophetic savior. He leads people in their search, and even has similarities with the two disciples that Jesus guided him (note the relatedness in the film). Paragraph hint), although this search ends in a tragic ending, at the end of the film, let us not forget the redemptive meaning of devotion contained in the cup that automatically falls like a miracle, and the background music of Ode to Joy Declared hopes and beliefs.
Although this interpretation taught me to be fascinated by the charm of the infinite possibilities of art works, I still have unforgettable and respect for too many inexplicable shots, such as those subtle light and shadow transformations projected on faces and buildings, such as the sense of flow. The continuous sand dunes that lay across the room, such as the scarred human tanks and weapons on the periphery of the room. These constant things, the amorphous changes of these things, seem to be telling us silently.
2002/10/13
, November 02, "New Movie"
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