After the olive tree, no more movies
——Watch "The Lover Under the Olive Tree"
When we talk about Abbas, we will think of Jean-Luc Godard's evaluation: "The film starts with Griffith and ends with Chiarostami", of course, Abbas naturally does not really make The film came to an end, but Abbas opened up a new world of contemporary film with his unique film style and technique. "The movie ends in Chiarostami", is exactly what Godard said after reading "The Lover under the Olive Tree", the finale of Abbas' "Country Trilogy".
The "Country Trilogy" is continuous in content and close to life in style, real and delicate. However, the succession of content mentioned here is genius and imaginative enough. The first "Where Is My Friend's Home" tells the story of a child who took a friend's workbook by mistake and went to find a home at the same table. The plot of the film is simple, the style is simple, full of childishness and local flavor, and it uses an almost documentary method. From the most mundane little things to dig the deepest human emotions. The second "Life and Flow" took place after the June 1990 Iran earthquake. It tells the story of a film director returning to his old place to find the hero of "Where is My Friend's Home". The film is a "documentary" Only after the earthquake, the Iranian people have no doubts about the human feelings that life is full of. People are busy setting up antennas so as not to miss the upcoming World Cup. Finally, the director's car finally rushed over after several efforts. The hillside, behind the seemingly small actions, is the expression of the invincible vitality of the Iranian nation. However, when it comes to "The Lover Under the Olive Tree", the director tells you that the previous "Life and Flow" were also well-choreographed feature films. No Good)'s story - in the process of filming "Life and Growth", there was a scene about husband and wife that could not be filmed. Finally, it was found that the problem was with the actors and actresses. In life, men want women the most, while Women are obstructed by the family's social cognition, so they can't psychologically identify with each other (even in the play) and their husband and wife relationship with each other.
The most unique part of the film is that it uses a kind of "repetition" close to real time to fully extend the time, let the whole story fully unfold, and then let the emotions and emotions gradually accumulate in the development of the story, and finally form a sincere, fiery, Impressive power. The "repetition" mentioned here is the NG shot in the film. Hussein, who plays the hero, pursues Taheri who plays the heroine in his life, and Taheri cannot emotionally agree with Hou Saiin confirmed the relationship between husband and wife in the play, so there are always various problems in the cooperation between the two sides. In the gap between the re-preparation of the NG crew, the two gained a valuable opportunity to communicate, and the relationship between the two also grew out of nothing like a gurgling stream. full.
As Abbas wrote in the poem: "The wind/open/the old door/close again/bang/ten times." Isn't such a "repetition" of the old door opening and closing the most real life? ? Sunrise and set, spring to spring, generation after generation of people on the earth again and again realize the happiness and suffering given by life, this is our life, is our life. However, this kind of "repetition" is not as stagnant as the rotation of the clock. Every repetition is the surging of the long flow of life, and it is the accumulation of your life experience and mine. The next time the sun rises, the weather is getting warmer, and the next time the spring comes, the young man will come into being. In the movie, the NG after another will make the identities of the male and female protagonists clear, and the emotions will continue to accumulate. At the beginning, Taheri was even reluctant to marry Hussein. Because of the dialogue, he was reluctant to call him "Sir", and finally turned his head under the olive tree and had a direct exchange with Hussein.
Let’s briefly talk about the actor’s ideal of love. When the director in the film asked about Hussein’s relationship with Taheri in private, Hussein revealed—“I don’t think the rich should always marry the rich, and the illiterate marry the illiterate. It would be better if a person with knowledge marries a person without knowledge, and a rich person marries a poor person. If a person without a house marries a person with a house, everyone can help each other. I think this is better." When I watched a movie and heard Hussein's words, I actually couldn't agree with it. If people living together on the background of cultural literacy and knowledge do not have a mutual fit, then such a marriage will be closer to marriage. for life. But this time watching the movie, thinking calmly, are you willing to pursue someone who is more knowledgeable? I think for sure. Hussein's idea seems childish and naive, but isn't it a love for life and a vision for a better future? Each of us is willing to pursue a better future. Isn’t our hard work and hard work in life to become a better version of ourselves?
And Hussein because Taheri was willing to give up the bricklayer profession, which can earn more than a doctor every month, even if he did his best in the filming process but broke his oath, he would not give in half a cent, but he was willing to build and Taheri for the sake of construction. The house where we live together let go of the promises that I once made - "If I have to do it, it can only be for you" - is this not the pure love of the naive boy for the girl and the hope for a better future?
At the end of the film, Hussein followed Taheri with a bucket. He didn't catch up or force him. He just kept revealing his love at an appropriate distance, describing his imagination of happiness. Finally, Taheri looked back. Facing Hussein's words for a moment, Hussein turned back in a panic. We don't know what they exchanged, but we can feel the tumble of the leaves and waves after the breeze blows through the olive grove, and feel the wind that comes and disappears with the wind. Quietly flowing life, I feel the most sincere you and me in the repeated time.
references:
[1] Chen Wei. Poems under the Olive Tree: Commentary on Abbas' film "The Lover under the Olive Tree" [J]. Film Review, 2016(23):9-11.
[2] Shan Wanli. Praise of Life under the Olive Tree: Commentary on "Under the Olive Tree" and also on Abbas' Film Trilogy [J]. Contemporary Cinema, 2000(03): 109-113.
[3] Uncle Ta. 100 people pretended to be him, but 99 people didn't know where he was. Murder TV. Poison Tongue Film and Television APP
[4] Ying Xiaomei. A movie like poetry, but it is a textbook-level disaster movie. Movie magazine. Poisonous film and television app
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