Most European films are branded as overly artistic, but there are also many masterpieces that are concise, profound, and realistic. Such as Haneke's "amour" and the Italian director Marco Tullio Giordana's "A Splendid Life" which I never knew before. I spent an afternoon reading this 6-hour work. After reading it for a long time, I always wanted to write something, even if it was just for myself. This is a film full of extreme goodwill, with a romantic and compassionate atmosphere of realism, the ups and downs of an ordinary family, the ups and downs, joys and sorrows, mixed with aspects of some historical events at that time, and the narrative is delicate and gentle, and the theme is also grand. The film is so realistic that it makes you feel like a ghost around them. Listening to them, watching them, and having a lot to say to them. I think Julia and Mateo are idealists with great personalities, they stick to their beliefs and never compromise with reality. The contrast between their extremes and Nikolai's mildness forms perhaps the film's most essential theme. Mateo was criticized as a failure because of his disagreement with the professor during the exam. He gave up lightly during the trip, devoted himself to the army, and broke his blood in reality. Finally, on New Year's Eve, he jumped down from the balcony in the face of the sky full of fireworks. He is upright and kind, but he has a bad temper and has a dignity that others can't get close to. Morally, he rescued the abused Zuozhen in the hospital recklessly, but at home, he was unwilling to help his father carry a TV. I think Mateo is too ideal. He thinks that everyone should be beautiful, but when he finds that beauty is not the whole of the other party's world, he will throw his fists and be angry. He loves books, but what inspiration did he get from books? Matteo, what is he looking for? Books and tantrums make for an eerie combination. After reading so many books, he could not understand the helplessness and understanding of the world. Perhaps self-destruction is the fate of all idealists. Although Julia likes music, music has never been the most beautiful thing in her life. You see Nicola playing Mozart in the mud behind the flood in Florence when she first met Julia Amazing at K310. But later in prison, Nikolai sent a few sheets of music, and after she played Bach silently in her heart, she returned all the music in horror. She went further and further in her political demands and became a killer, but she ended up in jail because she wanted to see her daughter. In the process of transforming the world, she failed miserably, and even let go of her own nobility. But fortunately, because of Nicola, she finally got her daughter's forgiveness. Later in the film, the daughter asks the mother to play a song for the child in her womb, but Julia evades it weakly. The daughter says, "I only ask you to do one thing, but you have to find an excuse to evade. You slandered you back then. Society, but now it requires the consent of the priest." Yes, Nicola and Matteo's father also said to Julia: "It doesn't matter, you are playing for me, please play Ravel's music again. ." Then the sound of the piano began to flow. Nicola is Matteo's brother and Julia's husband. He is the real protagonist of the movie, the home of all the characters. What Mateo can't do, Nicola can do. Mateo loves his parents but is ashamed to see them because of some indescribable feeling, and hears that after his father's death, he was crying with Nicola in his arms on the highway. But what did he do to his still-living mother? But you see Nikolai playfully guarding her mother's door, amusing her. Matteo rescued Zuozhen from the hospital, but he did not have the patience to communicate well with her, but you can see that the patient communication between Nicola and Zuozhen helped Zuozhen to get out of the disease step by step. In too many details, you can see how impatient Mateo is, while how Nicholas is gentle and positive, patiently and optimistically facing the joys and sorrows of life. There are too many misfortunes in the movie, but it's not tragic. I think all the people in it are lucky, because they truly love each other, there is no betrayal, no indifference, even the damage caused by Julia's abandonment to the family is slowly dissipated in Nikolai's silent positivity. Yes, even Matteo's posthumous son is kind and lovely, willing to live with the grandma he has never met since the beginning. At the end of the film, Nicola and Melina regained their love in Matteo's arms, a touch of surrealism, but very moving. In the end, Nicola and Matteo's common child began his post-graduation trip. Unlike Nicola who went alone, he was accompanied by a girlfriend. A kind of reincarnation of life, but it seems to have a beautiful meaning? Nicola and Matteo's parents are also impressive characters, especially the mother, with those big moving eyes, all the sadness and surprises are turned to the world without reservation. "I love you so much that I won't really fall out with you." Maybe the world has never had the ultimate answer, not in Hesse's book, not in Maugham's book. Maybe they will give us some experiences, but they can't give us the answer. Larry in "Blade" tries to find the ultimate meaning of life, but has he found it? In the end we don't know. If we were all Matteo in the beginning, then let's start learning to be Nikolai in the future. Watching such a movie, I suddenly think of Bergman and Kubrick. Their work is great and instructive. They are busy exposing the truth, busy criticizing, busy prophesying, and they have the same lofty ideals as Matteo. But when they are busy exposing the truth-like desolation of this world, they seem to be at a loss to face all this, what else can they do? Did they remember Nikolai? I just heard that Bergman had a bad relationship with his family. And Kubrick probably lost interest in human beings in the end, and went to a kind of nothingness. We need Kubrick and Bergman, but probably more often than not, "Life is Bright" to appease our humble and small souls. Watching such a movie, I suddenly think of Bergman and Kubrick. Their work is great and instructive. They are busy exposing the truth, busy criticizing, busy prophesying, and they have the same lofty ideals as Matteo. But when they are busy exposing the truth-like desolation of this world, they seem to be at a loss to face all this, what else can they do? Did they remember Nikolai? I just heard that Bergman had a bad relationship with his family. And Kubrick probably lost interest in human beings in the end, and went to a kind of nothingness. We need Kubrick and Bergman, but probably more often than not, "Life is Bright" to appease our humble and small souls. Watching such a movie, I suddenly think of Bergman and Kubrick. Their work is great and instructive. They are busy exposing the truth, busy criticizing, busy prophesying, and they have the same lofty ideals as Matteo. But when they are busy exposing the truth-like desolation of this world, they seem to be at a loss to face all this, what else can they do? Did they remember Nikolai? I just heard that Bergman had a bad relationship with his family. And Kubrick probably lost interest in human beings in the end, and went to a kind of nothingness. We need Kubrick and Bergman, but probably more often than not, "Life is Brilliant" to appease our humble and small souls.
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