From the standpoint of a third person, the film uses a documentary approach to narrate objectively. It does not introduce the director's subjective perspective. It is just telling and reflecting, without revealing the slightest judgment and preaching with a tendency towards values. It is impossible to know what the film is going to show. Theme of. The 3-hour movie is like flowing clouds and flowing water. As the plot progresses, the audience slowly savors the sweetness and bitterness of tenant life, family care and neighborhood harmony.
The movie seems to praise the idyllic farming civilization and the religious teachings. Under the pressure of life, people still have children, work with peace of mind, believe in God, and be content. There is nothing particularly happy about it, nor anything particularly sad about it. Life is unusually flat, very simple, and it goes on and on again and again. At the same time, they began to accept new things, such as following the pastor's advice and sending their children to school; such as an old grandfather and his little granddaughter trying to grow tomatoes at the end of winter.
It's just that in the last half hour of the movie, a newlywed couple traveled to Milan and saw the restless city amid labor-capital confrontation; through a tenant who stole a tree to make shoes for his son, the landlord took away the cattle, and the whole family was forced to leave . At this time, we have some sadness, feel a discordant, unequal and unfair life, and understand the corrosion of poverty to society. Plundering leads to poverty, and sooner or later people who have nothing will break the original surface tranquility.
At the last moment, peasants went bankrupt, workers went on strike, labor-capital confrontation, contradictions between tenancy and tenancy, unfair distribution, etc., we finally tasted the aesthetic meaning of Marxist political economy.
"The Tree of Clogs" won more than ten international film awards, including the Palme d'Or for Best Film at the 31st Cannes Film Festival in 1978, the Catholic Humanitarian Spirit Award at the 31st Cannes Film Festival, and the Best Foreign Language Film Award at the 1979 Caesars Film Festival .
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