The traveler of two worlds

Michael 2022-03-27 09:01:14

The weather and surrounding transitions in the desert island theater are metaphors for the mood swings of the characters. The names of the characters seem to establish the power relationship between them at the beginning of the film (David-Minus, Carol-Martin), and then the analysis of the four life purpose is also the torture of their respective "God" - father cares about the novel , Carlo cares about the call, Martin cares about Carlo, and the younger brother cares about his father's dialogue. People's belief in their "God" is filled with Job-like suffering for no reward. In the end, the spider/"God"-like helicopter took Carlo from the island, and the safe haven (circle) that the characters depended on collapsed one after another - Martin burst into tears and chose to follow, his father regretted the lives sacrificed for the novel, Milos hears a response from Father/God...and Carol has to be chosen by the "God" she believes in. He claims to have seen some more sophisticated stories, but still wants to sigh, no one else can bury the foreshadowing as hard as Bergman, huge and sharp, like a long dagger straight into the heart.

Joelle 2022-03-24 09:03:02

Looking back at the moment he came out of the movie theater, the most vivid feeling is the uniqueness of the big screen, Harriet Anderson's sensuality gushing from the depths of his skin, but that conclusively proves that Bergman still can't face up to his religious imprint. When he combines Dreyer's natural shooting with his past theatrical life, and now Bach's love ignited by his wife, his hesitation in saving lives is clear, and the other side is still the other side.