The family epic, the cannibalism of brothers, love and lust, crime and punishment, all make this film a clear Dostoevsky brand. More like a collection of Crime and Punishment and Brothers Karamazov.
After Visconti borrowed a family to migrate from southern Italy to the northern city of Milan, the five brothers’ different fate trajectories, on the one hand, showed the loss of nostalgia in the process of urbanization: the eldest took root in the metropolis, and the second lived in the city. Lost and depraved in desire, the third child can never forget his hometown, and he has the noble face and heart of a Christian saint, but in order to protect the second brother, he has become an unprincipled rotten good person. The fourth is relatively rational, and the fifth represents the future. hope…
Because of the appearance of a prostitute, the second child, Simon, and the third child, Rocco, had a big fight. The former even embarked on the road of jealousy and murder. Rocco's tolerance and forbearance failed to prevent the tragedy from happening, but instead resulted in a creepy flower of evil. .
Visconti reluctantly expressed the powerlessness and failure of religious redemption through the mouth of the fourth child, Quito. Sometimes unconditional good only leads to bottomless evil. Is it not Rocco's responsibility for Simon's ultimate destruction?
The prostitute Nadia is the trigger for the collapse of the whole family. On the surface, this is an image similar to the classic femme fatale in American film noir. But her true love for Rocco was unknowingly revealed from her cynical exterior. This makes her like a crucified Jesus when she is finally killed by Simon with open arms.
If it is said that Rocco symbolizes good, Simon represents evil, and Nadia is the embodiment of passion and desire. Simon's evil Rocco could not be saved, and Nadia could not be melted with her all kinds of amorous feelings. Where does this evil come from?
Anyone who has seen the movie knows that Simon is not an inherently bad person. When he first arrived in Milan, he also has the innocence and curiosity of a countryman. Visconti's ambitions have gradually expanded and fallen, and this, Visconti has made it clear from the repeated sighs of his mother and Rocco: it is this bustling city that makes people's hearts gradually lost and distorted... Including the savage boxing ring. It has become the best portrayal of urban life in which the strong eat the weak.
Therefore, Rocco, who is as pure as a saint, misses his hometown very much, which is the last holy land that has not been defiled...
It's a pity that he can't go back. At the end of the film, as a boxing champion who has attracted much attention, he has to fight non-stop on the battlefield. God knows if he will become the next Simon?
We had to pin our hopes on the still young Luca...
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