Screenwriter : Tarkovsky
Director: Tarkovsky
Photography: Vadim Yusov
Music: Ovchinnikov
Composer: Krachkovsky Tarkovsky
talks about "Violin and Roller"
There is almost no dialogue, what matters to us is the environment. The interrelationship of the environment and the real character can create the kind of hypothetical I have spoken of. We tend to call hypothetical something incomprehensible, but what I mean by hypothetical is something real. I am always ready to prove my philosophy is correct. I don't think anything else is possible.
2. This is actually a tragedy. He was shocked that the little boy did not come as promised, and the door of a world was closed before him ever since.
3. Movies should be action. There are only 35 sentences in the whole film.
From Laota's words, we should focus on analyzing the film from the following aspects: 1. Action is the soul of the film, and the dialogue only plays an auxiliary role. Then, how does the action of this film convey information? 2. The moral of the film.
The first time: This film is the debut work of Soviet director TARKOVSKY, with a length of about 43 minutes. The film tells the story of the friendship between a young boy who plays the violin and a road roller worker. The plot is very simple: the main plot is the friendship between the two, and the subplots are a little boy going to learn the piano, and a road worker and his beautiful girlfriend finally going to the movies together. These two simple and very short plots . The contradiction in this film is very simple, and the content it wants to show is also very simple, that is, it emphasizes that the natural estrangement between different classes in society is irreversible, which makes it difficult to form a long-term and sincere friendship between people. But as many people have said, from Tarkovsky's debut work, we can also vaguely see his kind of symbolic creation style. For example, "developing the plot through dreams, expressing the inner desires and inner thoughts of the characters", which was used in this film, has been used to varying degrees in subsequent films such as "Mirror" and "Mother". . In terms of dubbing, the dubbing is mainly done during the same period, and some plots are dubbed later. The connection between the lenses is very tight. Although this film is in black and white, the use of light in the process of shooting is very particular, and it is worth watching carefully. It is also worth looking at the use of several episodes, as well as the use of scenes in the film that are followed by one or two shots.
Second time: Although there are only a few dialogue scenes in the film, the interlude is often used. These episodes match the actions and expressions of the characters and express the inner emotions of the characters instead of words. Among them, I think there is a very classic scene. At the beginning of the film, the little boy gives the apple to the girl before entering the piano lesson. When she finishes the piano lesson, there is a scene. Pulling down from the top, we see the nearby On the chair, the apples were eaten. In this whole paragraph, the dialogue between the little boy and the girl is only one sentence: HELLO. However, except for the above details, including the little boy wiping the apple, the little boy being evaluated as "too much image" in class, it can reflect the little boy and the little girl. emotions come. There are many more places that are so ingenious.
Another thing that strikes me deeply is Tarkovsky's composition. Almost all footage is moving, and almost all footage is stereoscopic. In addition, the film also uses a lot of framed composition principles that are strictly photography in the sense of photography to construct the shot, which makes the picture quite beautiful, and the layering of the characters also becomes very prominent. As for the expression method of "using sound to express things outside the camera", there are at least two places in this film that can be seen. One is at the beginning of the film, after the little boy has finished his piano lesson, the metronome is still beeping when he walks out of the hall. There is one other thing that is not very obvious. I remember that TARKOVSKY also used this technique when showing cars passing by.
I still have some doubts about this movie. In terms of content, there are a few things I didn't understand. The first one is about 4' or so, the first time there is a musical interlude, when the little boy sees footage of multiple buildings through the glass, and I don't quite understand what it's trying to do. Another place is at the back of the film. The metaphors of "drops of water" and "ripples on the water" are used in three places. I don't know what the relationship between this metaphor and the characters is, and what problem this metaphor wants to explain. Also hope that the guidance of the Supreme.
View more about The Steamroller and the Violin reviews
