It seems that many mainland Chinese audiences love this film. In fact, Tonatore’s work has limited influence in the West. It has won the Golden Globe’s best original music and the European film award for best photography. In addition, there is nothing to tell, nothing more than European. "Ambush on Ten Sides"-the flashy beauty of form is separated by cultural differences, and always gets some unclear applause.
The image of 1900 is very easy to think of the long history of European ship story, think of Zweig's famous "The Story of Chess"-that is also the skill competition on the ship. The wanderer in Foucault's "Madness and Civilization" is most suitable for 1900, "the prisoner of travel", the prisoner of the sea, the prisoner of the most free and open place. He has been in the boundless sea all his life, not fulfilling the unpredictable life experience and destiny of the world. The screenwriter told him to stick to this fate to the end. Only by staying away from the land can he touch his truth and hometown-this is a dream. It's a legend.
Someone said, "Is everyone suitable for life on land? Does everyone think New York is heaven?" 1900 never got off the boat. He said that the land is more infinite than the sea because he lived very purely. Just imagine a person who has not been influenced by others. 1900 was also confused in other people’s views. He once tried to leave the sea, but In the end he was himself again. I think what the director wants to say in this film is to get back to himself this simple truth. '
This truth is what I said about the image of isolation, which is very fascinating. But the logic of the whole story is nonsense. To be honest, this story is even more nonsense than Zweig’s "The Story of Chess". I don’t know how much imagination Tonadore has, but this story is the culmination of a number of European legends and opinions. It has won awards for photography and music. This is indeed the sober insight of the judges. The film method of this article is exquisite, but as far as the story itself is concerned, it is far from the level of refined products.
The genius has no teacher in meditation, self-imprisonment and wandering in meditation, music-based movies happen to be based on people’s ignorance and fantasy of skill training, and their logical errors are ignored by people. . Any professional pianist would think that this genius is nonsense. Children who have never touched the keyboard can play chords for the first time? Can the strings be hot enough to ignite cigarette butts? This is a myth. This is a mysterious skill given by heaven. 1900 is the son of God, not the son of man. Isn’t it the first half of the 20th century? Okay, where is the First World War? Where is the Great Depression? Where is World War II? This kind of carelessness is an imagination, just as Zhang Yimou's "Hero" is also a fable in its sound-but serious and sophisticated, "The Legend of 1900" is not reconciled and as a fairy tale, it laments the New World to the old Europe. The attractiveness and destructive power of sighs the swiftness and ruthlessness of industrial civilization. On the one hand, it allows the protagonist to enter the world to observe his words and colors, and to compete for skills in a good place. On the other hand, it makes him stand alone and do not walk in the dust.
I have always admired Tornatore’s sketching skills. The shots of the many people in the film are often playful. This kind of beautiful little bridge section is especially obvious in "The Pianist on the Sea". Hollow and fatigue. Therefore, this movie is still far away from a truly serious work. It can only be classified as a romantic literary film, produced for the pleasure of the eye.
The life experience of 1900 is the legend of sailors in Europe: strangers from the never peaceful sea, no hometown, secrets that will never be exported, the love for women is like the last love of the son of God to the world, breaking this last red flower Lian has completely belonged to the freedom of heaven.
Tired of fixed land life. The land is more unpredictable than the sea. This is also a cliché. The idea of conveying this kind of thought in a 1999 feature film seems sharp, but it is actually a widely accepted theory.
The character and destiny of 1900 was determined by the screenwriter from the time when the plot of this movie did not yet exist, and then just filled in some details to link it up.
It can be considered that the story of 1900 was fabricated by the trumpeter, who does not exist on land. The illusion of 1900 does not affect the beauty of this story. But the boat exploded at the end of the film, and there is no sympathy for the disappearance of life. A dream, an era, 1900, disappeared and ended. There is no longer such a calm, romantic, and thrilling means of transportation. The shipping age has disappeared, and the post-industrial civilization era of faster, more cold-blooded, less resistant to staying and more tolerant has begun, and that's it. In 1900, the soul can no longer be attached to any material constraints, and can travel between the sky and the sea.
Tonadore described the image of isolation very well, but the legend of 1900 was still a commercial film and could not stand scrutiny. The 1900 long talk about "the land is infinite" is a far-fetched preaching to explain that he will never leave the ship. The screenwriter is indeed despising the wisdom of the audience. If I were a screenwriter, I would rather cut out all of this paragraph.
No matter how infinite land is, life is also limited. Except for the Son of God, the limitation of life becomes a consideration. The fear of secular life in 1900 is the fear of the world by the Son of God. Only the sea is his hometown, and only the sea can understand his genius and wisdom. Through the mouth of 1900 to express our tiredness of secular struggle and our tiredness of industrial society, this is an overwhelmingly boring superfluous superfluous.
Tornatore is a dreamer. The theme comes first, the logic is lame. Suitable audiences are "sorrowful young people", or those who give way to emotional sadness when they are tired, and understand that he wants to express a mood. Tonatore’s sea pianist and cartoons such as "Beauty City Trio" are in fact the same in nature, and both express the boredom and dream of Europeans in industrial civilization. It is the nostalgia on the ruins, without caring about reality and the future.
The image of the girl who made 1900 glow with love is very beautiful, warm, and ethereal. Her sleeping lips are happiness on the water side. She seems to be a French actress. Tornatore is good at making some images. Although "The Legend of 1900" is flawed in logic, some of the images are very moving. Maybe his value lies in these isolated images, not the whole story.
I suspect that Tonatore does not love imagination or the times, but only images. It is better to break the logic, but also to highlight the image.
However, I like the music and photography of this movie, and I also like Son of God 1900, Apollo-like skills, handsome, calm, leisurely and refined. Who doesn't love mortals? This is a solitary fairy in the myth, and his art has no inheritance of music in the world-it is simply a disdain for classic music, art is reduced to a mysterious talent that directly points to the heart, and it seems to be extremely sophisticated, in fact It is popular to the extreme, which makes the audience who know nothing about Western music illusion that they also enjoy the true meaning of music and appreciate the extremely high level of art. This is the cunning of the director, and this is a beautifully made commercial movie. In a market that doesn’t care about European history and the historical trajectory of Western music, this is the pseudo-art film that dazzles the audience-call it pseudo-art because it loses the basic element of art: sincerity, everything in this film is It is serving an image, a concept, and a point of view.
If you get rid of man’s fascination with God and use human reason to judge,
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