Curse the war! In the name of love!

Barrett 2022-03-28 09:01:11

This movie is a poem. The breathtaking movement of mirrors, light and shadow, and editing endow the film with a sense of rhythm, creating the "big strings are noisy like rain, small strings are like whispers. For example, when the heroine returns home, she sees a pair of pendulums swaying on the ruins of a broken bell ("Bingquan is cold and astringent"), so she covers her ears ("Condensation will never pass the sound and pause for a while"), "At this time. Silent is better than sound", not to mention the blown-up passages of sacrifice, loss, suicide, farewell, etc. Such a sense of rhythm is ultimately about lyricism - the level of emotional nuance of the characters in this film pales all language, so the technics (movements, lighting, editing) add (similar) elements of music and dance to the entire narrative. PS I (contrary to the mainstream opinion in Guiban) think the ending is good. The heroine's mental journey is also the epitome of war: she has to face not only death and chaos, but also reconstruction on the ruins. In this sense, it is a very atmospheric treatment for the heroine to stop at licking the wound at the end.

Stanford 2022-03-19 09:01:08

Karatozov's masterpiece of poetry and film, 1958 Cannes Palme d'Or. 1. A large number of difficult and high-speed sports long shots, the camera seems to grow wings, smart and active, and business is full of business: when sending off and welcoming soldiers, the camera follows Veronica among the shoulder-to-shoulder crowd; Boris rushes to one. Stairs. 2. Two sets of slow or fast montages: the subjective shot of Boris's death (revolving birch forest) + running up the stairs + overlapping images of the wedding celebration and the white gauze bride; Veronica has multiple occasions when running wild A high-speed follow-up camera set (side shot-passing railings, overhead shot-fast flashing branches above your head, overhead shot-fast shoes) + imaginary scenes of suicide by jumping on the rails. 3. The main editing logic of the film: from the inside to the outside, from the small scene to the big scene, from the part to the whole, the same is true for the sports long lens. This unconventional sequence of scene presentation strengthens the suspense and revealing effect. 4. The "rising" movement throughout the film (the ending scene is also the case) has become a metaphorical motif-from the individual to the world, from the individual to the group. 5. A bird's-eye view of the two on a deserted street; the lights flickered and lost virginity in the house during the bombing. (9.0/10)