Seemingly indifferent and restrained, in fact, he is completely rebellious. Almost all settings deviate from the mainstream discourse: Warsaw fell, people had little resistance, and hoped for the kindness of the German army; once the Jews became low-level citizens, the Poles actually worked hard to persecute them; the so-called "Jewish traitors" A savior; staying out of the riots, "resistance is useless" comes at the mouth. Someone must be disappointed or filled with righteous indignation: How can such a person deserve to be the protagonist?
Yes, such a person can be the most protagonist.
Key words for the first half hour: rush. The unfinished piano, the love that has not started, the family who have not really talked, the money that has not been hidden, and the meal that has not been eaten are all gone forever in desperate waiting. That down-and-out crying scene, that mournful face, is indescribable, and a heart shriveled in an instant.
Survival in the second half of the ruins is extremely grand. Doomsday? That is the end of humanity. Fingers clench and hold something in order not to die; fingers stretch and play in the air in order to live. Nervous and paralyzed at night, the music in his head led him. It's hard not to think of Mu Xin: "Anti-Rightist, the Cultural Revolution is coming, what should I do? Run. Art must preserve itself." Outside of the film, I don't necessarily insist on this position, but when Szpilman was about to run, he ran beautifully.
Brecht's "Inscription": In the Dark Ages / Are there any songs / Yes, there are songs about / The Dark Ages.
What if the song wasn't honorable? What if no one hears this song?
Even if the song is not honorable. Even if no one hears the song.
Neither honorable nor shameful, he was just lucky - a man who received the hydrangea thrown from the ruins by fate. It is the luck that keeps him alive, keeps him intact, makes everything reborn, tells the story, and reflects the shameful glory of all others, the paradoxical greatness of all art.
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