——"After Nostalgia" Andre
Andrei Tarkovsky Tarkovsky's philosophy pursues the goal that the individual voluntarily renounces his own self-interest by realizing that he is intimately bound up with society, the collective, and the world, and is ultimately in harmony with society. This goal is based on a critical reconciliation: he works to reconcile the values of collectivism and individualism, criticizing the traditional collectivism as nothing more than the weak individual abandoning his true self to society, while the "great" individual Imposing social reform programs that reflect self-interest on individuals who have lost themselves; while traditional individualism merely protects the evil theory that identifies "selfishness" as human nature. As he says, these ideas constitute his aesthetics that permeate all films, and with this key we will be able to provide a comprehensible, shallow interpretation of the poetic and quiet language of cinematic nostalgia.
The film tells the story of the Russian poet Gorchakov traveling around Italy to collect information on the Russian serf composer Berezovsky. During his travels, he met Domenique, a man of high religious beliefs. Domenico was considered a weirdo because he had imprisoned his family for a long time in his early years, and he lived a lonely life. He believed that people in this world had been depraved. In order to arouse people's true belief, he set himself on fire. Gorchakov was deeply moved when he learned about Domenic's actions and decided to fulfill the last wish that Domenic had said to him - holding a candle, walking through the pool, and when he finally reached the other side of the pool, Gorchakov Died of heart disease.
The story is very bizarre in the eyes of ordinary people. But with a little comparison, you can find that Gorchakov's travels are sandwiched between reality and fantasy, between a foreign country and his hometown, and furthermore, between the values of the two cultures. The trip to collect the information of the Russian serf composer Berezovsky is undoubtedly his pursuit of his own value, and the memory of his hometown and family undoubtedly represents the social responsibility he shoulders. "My main focus is mainly on the Russian's total inability to make sense of the flood of feelings, but also on the sadness of being unable to share these feelings with those closest to him, and on the new experience that has tied him up since his birth. His past is barely able to continue." ("After Nostalgia" Tarkovsky) Yes, Gorchakov can't reconcile the contradiction between the value he pursues and the responsibility to his family, so he can only do so in the aftermath of the film. Duan is about to leave Italy for Russia - like his predecessor Berezovsky - and the director intersperses Berezovsky's story in the film to suggest that Gorchakov also encountered Berezov. Skye is in the same situation. So will Gorchakov, like Berezovsky, choose to commit suicide in his hometown? no! Because the "weird" Domenic became the "beacon" guiding Gorchakov: Domenic's self-immolation to arouse people's depraved beliefs is an act that unifies the individual and society, because it is voluntary, so even if it is Self-immolation is also to realize his own value, and self-immolation is for the purpose of "awakening people's depraved beliefs", so it serves others and society. Gorchakov saw in Domenic the way to deliverance, so he was determined to devote himself to the pursuit of personal and collective harmony. Although he eventually died of a heart attack and did not return to Russia, from the end of the film the director turned the Italian church In the shot combined with the Russian house, the symbolic meaning of Gorchakov's "realization of personal and social harmony" can be realized.
If you look at Nostalgia from a realistic perspective, whether it is self-immolation or holding a candle through a pool, it can only be symbolic, and they reveal Tarkovsky's metaphysical thinking: the philosophy of achieving personal and social harmony. Because in reality, the realization of this goal is not so easy to achieve.
Consistent with Tarkovsky's thinking, the lens language of "Nostalgia" is realistic at the beginning of the film. In the middle of the film, it is transformed into a dream and a reality, showing Gorchakov's thoughts wandering between reality and memory and dreams. For this kind of intersection, Tarkovsky showed extremely superb techniques. For example, in Gorchakov's sleep in a hotel room, Tarkovsky used two different colors to represent reality and memory, and at the same time , let the image of the dog in Gorchakov's dream first appear in reality (the shot showing the hotel room). In the latter part of the film, because of the entry into metaphysics, the shot shows a rigid pattern. Tarkovsky skillfully uses the hierarchical lines of the stairs and the symmetrical placement of objects in the picture to form a stylized composition.
Tarkovsky believes that the rhythm of the film comes from the time changes of the film itself, rather than the frequent editing of the shot - he makes good use of long takes. What is the time he speaks of? He answered this question from the perspective of the audience's feelings: "When we feel something that is meaningful and real, and goes beyond the story of what is happening on the screen; Depiction, but some kind of indicator that goes beyond the picture frame and enters into infinity - an indicator of life; then time is tangible." Gorchakov's process of crossing the pool with a candle in hand is such a life process, and in a few days After the candle was blown out by the wind, Gorchakov had to go back to the original position to re-light the candle, and then walked to the other side. If there is any meaning to life, I think it is telling us that life is so small, But as long as it struggles with setbacks, it can also move forward. That is to say, in this "long" but short lens, the short but long life time is revealed, which is dialectical like Tarkovsky's values.
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