Children on one side and adults on the other. The opposition may not be so clear, it's just that several families and their large and small family members interact and connect with each other in a semi-enclosed German village. At first, some people and things appeared separately, which seemed a bit messy, and after a few things, it gradually formed a general appearance in your head: what is the family like, what is the child like, and what is the relationship between the characters and the characters. . Gradually you will understand that the mind of the screenwriter and director Michael Haneke is clear. He just lets you connect the trivial pictures little by little. Every shot has a meaning, or one of the shots is just a foil or a smoke bomb, but it will eventually explain a fatal problem in the future. It's a bit like a classical drama. Every prop is not set up for no reason. If the sword on the wall only shows the identity of the owner and does not play a role in the next scene, why does it still appear?
You watch a movie while linking trivial pictures, or you recall a previous picture because of the picture before you. Sometimes, there is a glitch in your memory and you can't remember clearly. What did that character say? You want to press the pause button. If this is at home, you would do it, but this is in a movie theater. You can't control the projectionist, so you have to continue to follow the process of the movie with the lingering sound of doubts and memories. You finally feel the timeliness of the movie. Its passing is irreversible, like history. There is only one way, and that is when the movie ends, you buy another ticket, come in again, and experience everything again. At that time, you were like someone who had already read the history of World War I. After experiencing this war again, you will clearly see the hidden details, which you ignored the first time you saw it, or did something else. Some reaction. The response was timely, the first physical and psychological response, but it was not a true understanding.
How to understand the character of the Germans, or how to understand the discipline of the Germans? Will these children really appear on the Polish battlefield when they grow up? Does it appear in the ranks of the Gestapo? Was it by the barbed wire of Auschwitz? How do these handsome boys and beautiful girls deal with others when they grow up? How to deal with Jewish partners in childhood? Everything comes from childhood. All poems originate from the pain of childhood. "White Ribbon" is about 1914. These children are between 10 and 14 years old. By the time of the beer hall incident in 1923, their age would be approximately 19 to 23 years old. The guess is reasonable. How should the Chinese make such a movie? In "Bright Sunny Days", Wang Xueqi slapped Xia Yu's slap. This is a way of discipline that was commendable in the past and still has approvers.
It is fear, not love. The fear of Martin, the boy in the pastor’s house, was shown in his eyes. He accepted all the accusations on the surface, but what did he think in his heart? The pastor didn't care. When the younger brother cautiously asked to raise a wounded bird, what authority or dignity the pastor's smile possessed. He agreed with his brother's request, not out of the kindness of the father's love, but out of the gift of lewdness. It is a dream, not reality. The girl didn't lie, her dreams were real, but the police extorted a confession is so majestic, she can only tell the real reality through the form of dreams. Violence is always reasonable among adults, and it is never considered violence. They have always believed that the purpose is above all else, as long as it is for a good purpose, they may wish to take any means by any means. They completely ignore that superficial obedience is not true obedience. The mature violence of adults can only be exchanged for the resistance of the limited and cowardly small violence of children. Qiu Chuji's explanation of killing and killing is nothing but to create grand murderous public opinion for Genghis Khan, while the use of violence in exchange for violence is a genuine historical fact. This is one of the reasons why Mohandas Karamchand Gandhi and Martin Luther King are respected.
There is also a German film "The Wave", which describes a classroom experiment. How does a charismatic teacher turn a group of unsophisticated middle school students into a group of extremely disciplined totalitarians in a week? To put it bluntly, the Nazis can actually be resurrected anytime, anywhere. This is what this profound movie tells the viewer.
As for what made the children of that year grow up to the adults now? What is the significance of this recourse? I still have many questions. And those Red Guards, if they live to the present and are almost 60 years old, are they old people who need young people to give up their seats on the bus? And what will the current children look like when they grow up in today's environment? Children rebel against adults only because of their own nature; adults restrain children because they know what kind of people their society needs, and they just shape children in accordance with the requirements of society-when it comes to education, stop it, or Talk about this black and white movie. Choosing such a calm and cold image is definitely out of respect for the film itself, as well as its disdain for the box office and uncooperativeness with entertainment seekers. If there are more people who like to think, the box office will naturally rise. It is recognized that Germans are good at thinking, and thinking Germans are also dissatisfied with Germans. However, these are not reasons why we don't think about it. Even if people are dark, why can't we be bright? Comparing is sometimes indecent.
It seems to be talking about morality again. The word ethics is used a lot, but it is true that it is not often used correctly. The pastor's family looks serious, but the immorality in it is obvious. The white ribbons used to restrain the children from keeping their purity are nothing more than an open humiliation to me, no different from the red letter A on Hester Prynne's chest. To the teacher’s kind reminders, the pastor’s response was more intense. I thought the pastor’s response would be different from ours. If you think about it, the difference is there, that is, the pastor only speaks without hands, or seems to speak elegantly, rather than rudely. That is the difference. But what a huge difference this is. There is also Martin's tied hands. The younger brother doesn't have any sympathy. Will he encounter this kind of restraint when his younger brother is a little older? There is also how much contempt the doctor has towards the midwife after committing adultery with the midwife. I actually want to understand the doctor who is inferior to this animal, but his polite pain, in the pain of his daughter Anna's heart, is just a mask of hypocrisy and hypocrisy.
In fact, children are the true heirs of adults. In the novel "Fuzzy Images" by the German writer Ullah Hahn, Kaga Wilde questioned himself when he pursued his father's Nazi history: "Why didn't she get to the bottom of the question when she was a student? And never did it again afterwards." She remained silent. Just like her father. What about the others? What about those who have asked? Are their questions too merciless and prejudiced? Did they not give their father a chance to speak? They Is it to protect their innocence as quickly as possible, and to label the entire generation as criminals, followers and bystanders without distinction, so as to get rid of their relationship with them? Treat fathers as guilty and treat yourself as guilty Seriously. Some people even regard themselves as victims, being victimized by the criminal’s father.” (Quoted from Michael Ostheimer’s "New German Family Novels—How the Family History in the Nazi Period" "Historization in Literature", translated by Pan Lu) When pursuing the truth of history, self-reflection must be accompanied and more important, otherwise the search will be meaningless.
What kind of secret is hidden behind the turbulent curtains? Who should wear the white ribbon? The only warmth seems to come from the teacher, from his feelings with the baron’s nanny, but these are related to his identity as a narrator. How did the death of the farmer’s mother and the suicide of the farmer’s father cause it? There is also the disappearance of the boy from the baron’s house, the girl from the priest’s house was pulled away by his father, the midwife’s mentally retarded son was blinded, and a child pushed another child into the river in order to compete for a self-made flute... The whole film is shrouded in a depressive atmosphere similar to the breath of death. There is no light, no soundtrack, only tyranny in peace. The peasant's venting of anger by cutting and killing vegetables contrasted with the celebration ceremony of the baron's house. Fortunately, Haneke did not exaggerate the celebration, did not express the vulgar and humble happiness like Bruegel's oil paintings, but indifferent demonstrations, and by no means idyllic. Martin walked dangerously on the bridge rail, trying to see if he would fall. He knew he was wrong and should be punished by God. The result was that he did not fall, which made him mistakenly believe that he was affirmed by God. In fact, it is not that there is no punishment. It can be said that it is because the time for punishment has not come, and the time for God's judgment has not come. As Yeats wrote in his poem, "Obviously the second coming is very near."
2010.1.28.
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