Human romance, like a rock

From the contemporary Finnish trilogy to the "Le Havre", which the director called the first part of the port trilogy, the visual sense is still the paintings of Italian Calvaggio on market figures and still lifes, and it is necessary to observe the silence of the characters. to feel the creator's spiritual world. The overall gray-blue color of Le Havre falls on the simple houses in the civilian residential area, especially the iron wrapping outside the Marx's house, which continues the usual grimness of the pictures of Archie Kaorismaki's film. Until you are attracted by the beauty of a corner, or a large red flower of dianthus, three or two yellow daisies, or a few bright roses in the ward, you will suddenly realize the director's cleverness and the plain warmth of human nature in Kaurice. In the lens of director Maki, he became a stalwart. The stingy dialogue, simplified sentence structure, and a large number of static close-ups of characters' expressions seem to maintain a steady breathing rhythm, control the beating of the heart, and return to the bland and real atmosphere of life.
In this slow film pace, it's easier to be aware of the climax. When the camera left from his wife's hospital bed, the camera switched to Marcel, who was polishing the priest's shoes outside the Catholic Church. All of Archie's reminders of human concern quickly converged and became clear and powerful. Marcel played in "Le Havre" was once the down-and-out writer in "Life in Bohemia". With this premise, I heard him say to the smuggled black child, "I have more decent ones. Work can be done, but a shoe shiner is the profession closest to God other than a preacher.” We may guess that the loftiness of art has disappointed him, and deep in the common people, his kindness to the world has a more direct expression, As long as we get along with simplicity and sincerity, there is the power to soothe people's hearts, so Marcel outside the church must believe that being close to the Lord can make his wife healthy. The only climax in this kind of peace completes the fundamental transformation of Marcel's image. He is no longer just a small citizen, but more like Goethe and Proust, who uses words to complete the redemption of suffering souls, but he The tool is himself. Of course Marcel will not give up taking a little advantage of those speculators in society and life. Accidentally encountering African smuggled children, he still instinctively took this wealth out of his heart and gave it to others, and like a spiritual teacher, he was spontaneously followed by a group of believers, and on the way of Taoism and generosity, he successfully influenced him.” More people", perhaps the police officer of "Le Havre" is the most symbolic person in the hands of Archie Kaorismaki. But thinking about it, this feeling may also stem from the director's refined character relationship design. There is basically no group play. Most of the time, when you see a group of people getting off the police car from the big perspective, when the camera is dispatched back to the close-up, Still just a policeman.
It is the kindness and sincerity that always exists in the characters and life under the lens of Kaurismaki, and whether it is a corner that ignites, let us turn from the cold examination of society in the contemporary Finnish trilogy to the romance of life itself. When people are accustomed to the vicissitudes of life and find a fixed fulcrum in time, as the ancient Roman philosopher Plutarch said, facing life like a rock is the most romantic story in the world. Just like director Kaurismaki at the end of "Le Havre", facing the death of his wife, he retained the beautifully imagined Marcel. Life continues with an unchanging core. I can also jump out of the sense of alienation between Finnish social reality and human spiritual happiness, and rediscover the romance of humanity in the film on the banks of the Seine.

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