"Not Guilty Murder: The Coligny Case" is a good textbook for a glimpse into the schizophrenia of contemporary Germans about their dark history. To go mad and live in this world. But the effect is undeniable. Spoilers below.
The protagonist is a new lawyer. It is the first time to take over the job of the public house and defend the criminal suspect. All of them are insiders. The design of this scene is very clever. The lawyer's robe is a symbol of the system. It is difficult to distinguish the occasion. Instead, it reveals that the young man is not yet institutionalized, and he still maintains a pure belief in work and the law. This is to pave the way for the back.
But he was immediately surprised to find that the victim was his benefactor. The big boss of an industrial enterprise, who is keen to collect classic cars, Versailles Benfan. He grew up in his home, grew up with his grandchildren, childhood sweethearts, and applauded love in a classic car. He even offered him to go to university and read the most expensive major of law, which is why he is today. Zhuma scolded him in the back, without my grandfather, you can only be a clerk in a barbecue shop today.
I still haven't figured out what the relationship is, and I haven't explained that the master has a relationship with the protagonist's mother, so he can't be so close to his grandchildren. Or is it the custom of the Junker nobles to find a playmate for their grandchildren, or, like the old gentry in our country, sponsor the wise son of the poor relatives and the powerful, and expand the clan.
Whatever the relationship, I don't know how the German law regulates avoidance and to what extent it is enforced, but there is clearly a conflict of interest and I am not suitable for this position. The screenwriter was obviously aware of the bug, which made him quit at one point, but kept going. In this arrangement, the golden finger is wide open, in order to let the protagonist get involved in personal feelings, not just business affairs, the screw of the system.
It was later revealed that the murder was revenge, and that the master had been in the SS and shot the suspect's father while stationed in Italy. He was later exonerated by an act of duty under an Act of 1968. However, according to the recollections of the parties, what he did was not a professional need at all, but purely to vent his desire to torture and kill. The protagonist is the mirror image of the master, and he also has his own selfishness. The difference is that he finally restrained his selfishness. Of course this arrangement was deliberate.
Another mirror image is the protagonist's teacher in law school, who fights against him and defends the victim. The direct dramatic conflict, the climax of the whole film, unfolds between teachers and students. The teacher is highly respected in the system and is familiar with it. Although he always believes in the law, he quickly closes the case after negotiating in private. Let Zhuma seduce the protagonist and personally visit the door to lure him. He has been tempted on the edge of the law, and he is still making jokes in court. Just playing with the law.
In addition, the teacher participated in the deliberation of the 1968 Act as a trainee lawyer, and also has personal origins. He was once young, just like the current protagonist, but he remained silent on illegal bills, and naturally became a bureaucrat and an old oil of the system.
This story has a righteous direction. The protagonist repeatedly challenges the established procedure, and reveals the suspect's motives through strange weapons. There is a bit of reasoning here, but he still uses the advantage of cheating to directly touch the old man's house for evidence. When the teacher used the suspect to appeal, was acquitted, and temporarily regained a city, the protagonist finally tried the teacher in court, forcing him to admit his fault in public, and also tried the deceased master and the senior officials who were enacted in 1968. Most of the time is gone.
Although the trial was so powerful, the screenwriter finally arranged for the Avenger to hang himself. Of course, it can be understood that he has received his revenge, his wish has been fulfilled, or he feels guilty. Because of his ignorance in the identification, his father was killed. But obviously this allowed the court, the system, to escape the embarrassment of the judgment.
Because under current law, the Avengers are guilty, and the court has no power to quash a previous court exoneration, let alone the 1968 Act. But the play has been performed to this point, and the audience cannot agree to such a judgment. The screenwriter can only play tricks, he has already opened so many hooks, so why not add another rope. This film has always been dishonest, and this is the most chicken thief.
In the end, the owner revealed his law firm, hired a delivery girl he met during the case as an assistant, and wore fishnet socks to work. The protagonist gave up his great future. Although the atmosphere was cheerful, the price was undoubtedly heavy.
The brighter the movie, the less realistic it is. Normal people will choose the teacher's path. Individuals cannot fight against the system. But this type of film still sticks to this routine. Their rhetoric is based on personal conscience, but in fact, they avoid "(How does this country suffer from the loss of the general people, I am thinking) to ask the question".
The 1968 Act implied that there was an insider at the top. In the field of public opinion, Germany has a better attitude of confessing guilt. The climax of Brandt’s kneeling in Warsaw is always compared with Japan. It is also true that there are laws prohibiting ordinary Nazi members from holding public office. When Zhao An joined the new government, the 1968 Act had the influence of these people.
At a higher level, Germany is the periphery of Western civilization, and the Nazis are the product of the great crisis of 1929, which initially appeared as "respecting the king (Western civilization) and exterminating the barbarians (the Soviet Union)." reason. Why did the Nazis become bigger? The mainstream narrative is attributed to the appeasement of the West, which was frightened by the First World War. There is an implied excuse in this criticism. Only unexpectedly was devoured.
The biggest problem in the Nuremberg-Tokyo trial is that the crimes of Germany and Japan were conclusive, but their accomplices were not tried, but sat on the trial stage. Germany played the unfortunate role of Chengji, defending the Sima clan, directly ordered by Jia Chong, to kill and abolish the emperor Cao Mao, and only the Cheng clan brothers were finally executed.
The Soviet Union was the main force against Germany and wiped out most of the German army, but the Anglo-Saxons landed to pick peaches and occupied most of Germany's territory and population. After the war, world hegemony was transferred from Britain to the United States within the Anglo-Saxon system. Before the war, Germany was a challenger to the hegemony, and after the war, it became a vassal. Black history is also a means of control. The former accomplices came together again, and the Cold War once again launched an attack on the Soviet Union and other "barbarians". It was decided that liquidation could not be complete.
Auschwitz is a crime committed by the entire West against mankind. In fact, the halo of the West was bankrupt as early as World War I. It was decorated by Arendt's "theoretical construction". Let all the little Germans carry it back, thus leaving the elite system and the West behind, like a white lotus. The film also faithfully implements the Arendt line, creating a binary opposition between two small characters.
Schmidt pointed out that the Nazis were the end of enlightenment. The Nazis and their French forerunners were the same kind of routine, or inferior enlightenment. The term for The Three-Body Problem is the thought stamp. Some people will argue that his ideological stencil is more advanced than others, but as long as the stencil is unilaterally stenciled, it is just like the truth in "Zhuangzi·辠箧", people lock wealth in boxes, only to prevent small thieves, big thieves rob the whole box, Instead, it provides convenience.
From Arendt's conclusion, it is still necessary to be enlightened, instill "mediocre goodness" in individuals, and cultivate good children like the protagonist of this film. This is the endless cycle of modernity, always using the troublemaker to solve the trouble. And at the end, it is revealed that this system has no place for good children, which is hypocrisy and stupid loyalty.
Although Germany's kneeling posture is very correct, as long as the West does not reflect, and has always reflected on enlightenment, it is not reflection, but escape and forgetting. Enlightenment is still a beautiful word in today's Chinese context.
The most successful work of this type is Schindler's List, but in the opinion of the concentration camp survivor Kertesz Imre, it is a botched work, "to regard the aftermath as a victory is absolutely absurd. Yes." In a term in the Chinese context, the funeral is happy. All kinds of tears, black and white films nested with little girls in red, ending in color, all Hollywood routines.
The most recent "Persian Language Lesson" also relies on a quirky setting. Nazi officers have no other source of evidence, do not learn grammar, only learn words, and the stereotype that Jews have superior memory. And the protagonist is a tool man to save 2840 names. At a higher level, audiences are all objectified by the "cultural industry". This is also a kind of enlightenment, but it is not for building an ideal country, but for box office.
Not only historical themes, but also small people are naturally correct. The problem is that this kind of performance is often fragmented, which is kitsch. What is difficult is to express the connection between small people and the world, especially in the modern world, the power that affects fate often comes from afar, and a screen cannot fit.
This question can be expressed more specifically as how to shoot industry dramas. An example of this is Yamazaki Toyko's "The White Tower". The saturated rescue of "Wandering Earth" is an anti-Hollywood lone hero, closer to reality, while taking care of individuals. It is also a common proposition of all science fiction works, how to bring out a world setting that is different from reality through the activities of the characters.
Or expressed more abstractly, film is a kind of discourse power, and there are problems of restriction and self-restriction. When we think we're presenting reality while obscuring more of it, it's probably more important, though not the more dramatic, sensory impact. There is a potential for abuse of power here.
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