Part III: 202 1 movie master (I)

Last weekend, Tao and I went to Daguangming Cinema to watch the 20021Italian movie master Exhibition planned by Shanghai Federation of Literary and Art Circles.

The film festival started on1October 23rd 10 and will last until1October 7th 165438. Although the time span is three weeks, the film screening is mainly in six weekends from the end of 10 to the beginning of 1 1 0. Exhibited 9 films, including works by pasolini (5 films), Agito (2 films), bertolucci (1 department) and Desika (1 department). After preliminary consideration, Amo and I chose five of them to watch.

Last Saturday afternoon, I watched pasolini's Oedipus the King and Medea. Pasolini is an Italian movie master, so I don't need to go into details. No matter his life, works, thoughts or political opinions, there are a lot of documents and materials, and interested friends can explore them. But personally, I am not very interested in him. In my opinion, although Lao Pa's films have a deep and thorough concern for reality, they still have a little more preaching flavor. In the famous Italian "Sani", his image is neither as interesting as Ferini's nor as exquisite as antonioni's.

King Oedipus and Medea are both adapted from famous myths and legends in ancient Greece, and they are also two of the three famous tragedies in ancient Greece-the other is Prometheus Bound. Imagine that if Hollywood were allowed to shoot this kind of theme, it would be a magnificent epic, but it was not like that under the lens of pasolini. Let's start with King Oedipus. The highlight of the film lies in taking the Italian town in the 1920s and 1960s as the beginning and end scenes of the story, giving people a sense of depth of the great tragedy that spans time and space. On the other hand, in the main part, that is, Morocco live shooting, the plot promotion and characterization are mainly completed in the lens language similar to the new realistic film, which accords with Lao Pa's idea that "reality is my God", but the problem is that the rough sense of drama caused by the rough design of the sidewalk dispels the documentary sense of the film to a certain extent, resulting in a sense of disharmony that is neither like experimental live drama nor realistic film. In contrast, Medea has a stronger sense of form, and the way the story is presented is also "friendly" to the audience. In Medea, Maria Callas' personal charm and elegant manners highlight the tragic beauty of the film. In particular, the display of ancient sacrificial ceremonies and the description of Long Xing Centaur are impressive.

The Evil Wind Sudden, which I saw on Sunday night, is the most famous Giallo movie in Italy. The so-called "Giallo" movies refer to Italian cult horror movies, which are named after most violent pornographic novels with lead yellow covers in the 1960s and 1970s. This is my first time to see Agito's works, because I never like horror movies. Many scenes and mirrors in the film are tributes to German expressionist films in the 1920s, and Fairies's soundtrack also sets off the horror atmosphere of the film. The only drawback is that the plot is a little weak. The whole film looks like watching the heroine play a simple "haunted house" game, which is a bit unfinished. In fact, it can be seen that the director is somewhat ambitious in expressing people's psychology, but the relatively simple plot obviously cannot bear this ambition. But overall, the impression is still very good, and the day I saw coincided with Halloween, which was very appropriate.

Finally, I would like to mention in particular that this Italian movie master exhibition itself has a very big bright spot. That is, Mr. Kyle Mueller, the former president of Venice Film Festival, gave the audience a guide before each film was released. He is a die-hard fan of China and can speak fluent Chinese. Although the preview of each film is only 5 minutes, the comments are very humorous and attract warm applause from the audience every time.