The first 30 minutes of the film are biased towards false realism, which can even be seen as an aggressive imitation of realism by drama. The director designed a premeditated opening to allow the subsequent plot to proceed rationally. The "noble" willingness to join the army voluntarily is the premise of the whole movie, but this premise is completely one-way and conclusive, and it loses the characteristics of reality, which makes it slightly difficult to create a sense of reality in the plot.
Before the war: "Male" status was labelled as an inherently political gender and required to be dedicated in wartime in order to be classified as a positive, fully male image. It seems that being troubled by love worries in the face of national security means failure as a "male" identity. I don't like this kind of plot that unilaterally decides the direction of love.
Scenes: 1. Rape scene: The interweaving sound of piano and siren in 41 minutes 44s, as well as the use of light, shadow and editing are really wonderful. After reading it, I feel that contemporary directors should copy this paragraph when they describe similar scenes. Out of respect for the language of the camera (beyond morality), I think it's hard to convince yourself not to do it once you know the best way to do it. 2. The death scene: The past is like a dizzying dream, and this sense of separation makes all the goodness seem so alien. The overlapping of the birch tree and the spiral staircase echoes the situation of the boy running up the stairs at the beginning of the film, the same dizziness and the same endless steps. The huge joy represented by the wedding dress overlapped with the sadness of dying, the confused look on the boy's face at the end of the stairs, the dirt on his face, and the intrusion of the reality cries for help made the whole illusion crack open, the confusion was solved, and it was cold. reality pours in. Eisenstein once emphasized that movies are montages, not the editing level, but the ability of montages to lead to a higher level of meaning from the combination of two shots (the counterpoints between two moving images to achieve a higher dimension), Ensuring the conflict between shots in crosscutting back and forth, and the superimposition of the scenes within the shots can simultaneously focus on the shaping of the desired emotion (ie using the conflict and superimposition within scenes to create emotional association). Here, director Yan Nanfei pushes this idea to a higher level, and uses the superposition of shots to intuitively reflect the conflict. It can even be said that this is the most undisguised combination of thesis and antithesis, and the level of synthesis/emotional association achieved. As you can imagine. 3. Running shot: the fence, the sky and the face are mixed up, as if the sky and the face are locked in the fence. The black and white contrast between the skirt and the snow, the director did not fall into the trap of simply using the plot to support the mood in this film, editing rhythm, lighting (shading, overexposure, contrast), facial close-up, and different situations, the superposition of different scenes Both can be regarded as the toner of the film, and a greater degree of emotional unity is created by the conflict within the toner.
There are many contrasts and parallel shots in the movie. It is an effective use of editing to strengthen emotions and maintain continuity and integrity of actions (such as two people jumping into bed after parting in the early morning, and the railing scene when they meet in the early morning and the boy breaks an appointment)
cranes like ships, sailing in the sky. The only way to convince yourself to live is to make peace with reality. Reconciliation means surrender, surrender. Hope is useless, whether it is Boris, who resolutely joined the army, or Inman, who has gone through untold hardships in the cold mountains to be reunited with his lover, love is not worth mentioning in the face of war. When she finally came to greet Boris with flowers, her expression was as if she had never heard of Boris's death. What a blind and heart-wrenching expectation, a lie that even she finally believed.
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