It seems that the word "war" has been buried deep in the dust of history for those who live in peaceful times and only think about how to be happier every day, and no one has erected monuments for the dead, let alone Remember, let alone present a bouquet of flowers for them. But history will remember, it will remember the blood in the quarry, it will remember the pornographic lights of the concentration camps day and night, and the sound of the accordion built on gleaming bones: yes, they were recorded, framed, waiting Let us read and explore.
There are two deep meanings in the text that I don't quite understand. The first place is the person the Jews met when they were running away, and the doctor who treated the Jews in the hospital. The Jews all told them their secrets, but they didn't go to snitch as if they didn't hear them. , What's even more strange is that in the part of the escape, the person's performance was very bland, and he didn't seem surprised at all. I don't think the director wants to use these two scenes to illustrate the human nature under war. After all, there is already Chief Koch. What are those two scenes used to illustrate? Maybe it can also be understood as a kind of embellishment for human nature? The second place is still when the Persians escaped, but this time the film is looking at the world from the perspective of a little Nazi soldier. Suddenly, he stopped in front of a statue.
This statue makes me feel like a scene in ancient Greece when a sinner was judged or a god made a big mistake and was punished by the gods, so this statue is a metaphor. As for what he is metaphorically referring to the soldier's judgment on his heart (but from the point of view of the fact that he still wants to chase after the officer, he is not a person who is good at self-examination, so the probability is very small), or it implies the final fall of the officer, and also Or the perspective of the entire German Nazis being tried in the long history of mankind, there is room for discussion.
So back to some points in the movie that made me feel deeply touched. In our stereotype, the Nazis are the high-ranking executioners, who control the life and death of the Jews, disregarding their lives, and are not worthy of being human; and the Jews are the sympathetic image of the crouching on the ground, struggling to the death. However, what we need to know is that people are not black and white, and there are many gray areas in our lives.
Nazi officer Koch, I couldn't even imagine that an adjective like romance could come up on a Nazi until I saw this. However, he is really cute, he is very eager to learn (although it is to survive), he will recite "Persian" in his mouth before going to bed, and he will set a study plan for himself, 4 words a day, long-term plan In just two years, he can learn more than 2,000 words; when his superiors hear rumors that he is in a relationship with Jews and suspect his political motives, he will tell his superiors a small report from a female employee, "She said you are short." ; he will withdraw his hand when he wants to touch the Jews, promise him that I will protect you, and use 20 cans of meat as a bet; he will avoid the Jews when he smokes, so that the smoke will not be sprayed on him; he He would apologize to the Jews after he made a mistake, and use new clothes to coax them; he would recite a poem in Persian that only the two of them knew, and the Jews also stared at him and said that you wrote very well... It can also be seen from the questioning of his superiors that he is actually not very interested in war, and mainly wants to find his younger brother, and then open a restaurant to live in peace. At the end of the film, the Jewish people asked him why you wanted to be a Nazi. He said, "Beside a railway station, I saw a group of people in uniform chatting and laughing together, so I joined." It can be seen that he is also a person, a living person. That's why he gave the Jews canned meat to eat, he asked the Jews why you were so angry, and he dragged the Jews out of the prison camp. Therefore, we cannot only look at one aspect of people. Koch is a very typical archetypal character. We have to look at a person comprehensively, so that we can objectively evaluate him. At the end of the film, he wanted to go to Tehran after the war to find his younger brother to open a shop and live a good life. But at that place at customs, he was stopped. Because what he called Persian was actually a list of prisoners in the Nazi concentration camps. The Persians in charge of customs could not understand his speech. At this moment, he knew that he had been learning fake Persian, and he had always trusted The Jew lied to him. Here we will feel that the object of the trial has changed, the Jews and the Nazis have switched places. The Jews looked down at his sincerity, and the Nazis lay on the ground and wept bitterly.
In order to survive, it is human nature to deceive officers.
Over time, love is born, and it is also human nature.
Whether the officer, after his breakdown, recalled the experience, would have forgiven the man who taught him Persian and understood the man who had listened to him write poetry, we have no way of knowing.
Let everything escape in the fog, perhaps another kind of consummation.
In addition, because I am a Chinese language and literature major, I have a little understanding of the language. From the perspective of linguistics, the fundamental attribute of language lies in its social attribute, that is to say, it doesn’t matter if you can’t write the language, it doesn’t matter if you don’t have words to carry the meaning of the language, and being able to communicate is the greatest effect of a language. And we know that language has signifier and signified, signifier is the phonetic meaning of language itself, and signified is the substantive thing behind the sound and meaning of language. For example, in this film, "Raji" refers to bread and trees. This is known only to Jews and officers, which is why it is said that the language is Persian for both of them.
Let's talk about love again. Love is extremely ethereal, surpassing the love affair on the firewood, rice, oil and salt. As the so-called "eat and think about lust", according to Maslow's theory of needs, only when your basic survival needs are satisfied, you are qualified to pursue the so-called respect, the so-called self-realization, and you have the capital to talk about love. . In this film, the director almost explicitly told us that the officer has feelings for Jews, and it can even be said to have reached the level of love. But we pay attention to the Jewish reaction. For this feeling, I believe he must have noticed it, but he never responded. why? Because of their identities, they are doomed that they cannot be equal, that the Jews walk on thin ice every step of the way, and that the focus of the Jews is always on the issue of survival rather than illusory love. So when the officer read the poem he wrote to him, he said perfunctorily that it was well written, but in fact he just wanted to get his survival food - bread. The officer asked him to call him his name, but he was reluctant at first, but later he wanted to eat canned meat, so he complied with the officer's wish and called him by his name "..." (I forgot what it was, it was very kind anyway a nickname) so finding out that there is none, that's the biggest irony. Senior officers in war have met the most basic survival needs and can pursue things beyond that without worry; however, prisoners in war will always only think about survival needs, and they can't even meet survival needs. Talk about love. But isn't the survival needs of the captives precisely what this group of high-ranking officers who are pursuing romantic affairs is stifling it? Isn't it precisely this group of high-ranking officers who kicked the prisoners, tortured them, and shot them? In the end, the upper and lower roles of the judgment are reversed, and the higher-ranking person becomes the lower-ranking person being judged, and the lower-ranking person who should have been judged is looking down on the upper-ranking person from above.
Finally, let's end this movie journey with a sentence from Camus' "The Stranger", "I know I can't live in this world, but why do you judge my soul?"
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