About Cezanne and me.

Comment on Cezanne and Me (1): Favorites of Beijing International Film Festival.

In the last scene, old Cezanlin painted, learned the news from Zola and pretended not to care that I was working, but I couldn't draw any more. I limped down from the mountain, dragging my crutches and dragging my tired feet, and hurried to Zola's place. Watching from a distance in the crowd and hearing Zola say that he was once a genius with broken wings, I left sadly.

When Cezanne chased Zola and quarreled, Zola wept silently. -Cezanne doesn't understand Zola. Although Cezanne left Zola's home after the quarrel, I think the real break for Cezanne may be when I heard Zola say he was a genius with broken wings.

If a painter gives up the light of that moment for you, it is true love.

I like Zola's mother telling Cezanne that I can't breathe.

The subtitle at the end changed color.

Comments on Cezanne and me (2): Love is always more about loving and killing each other.

"They quarreled and broke up, but they still couldn't help admiring each other. They are like a couple who are destined to be together. "

When I saw them hugging each other after parting, I couldn't help thinking of a sentence that Goethe said holding Schiller's remains: Go home, great friend. Although they are two completely different stories, what they have in common is that these two pairs of close friends are both spiritual shelters for each other. Cezanne can leave his most important job and go down the mountain with crutches just to take a look at Zuo, but he can also pull it to the left on the stairs with the most vicious and hurtful words to vent his sharp grievances accumulated over the years. They poked holes in each other and lived upside down decades later. There is no denying that their lives cannot be separated from each other. True parting, of course, is a thousand times more painful than years of cold breaking.

Zola said to others, "A clock without hands symbolizes our friendship."

Cezanne said to others, "I love Zola very much."

Reflection on Cezanne and me (3): Loneliness is the pursuit of eternity.

People who are loyal to art will meet unexpectedly and recognize each other on the road of art, as if old friends are reunited and relatives are reunited.

Cezanne of Aix recognized Zola in a group of people when he was young. Cezanne is the son of a banker, and his father is eager to inherit his career in the future. When Zola was poor, his father died very early. But Cezanne almost believed in Zola's talent: "I wish my paintings were as vivid as your handwriting." Zola also praised Cezanne: "This man is a genius." He said so, but there was always a little doubt buried in his heart. "You still need time to prove that you are a genius."

Cezanne is an honest man and has no doubt about Zola's trust in him. Zola is very smooth. Of course, he doesn't doubt Cezanne's trust in his talent, but he has a bigger appetite. A poor literary youth from Aix needs the appreciation of the whole Paris literary and art circles. What's the use of appreciating Cezanne, a childhood friend who is not famous in itself?

Zola knew from the beginning that in addition to hard work, he had to please the literary circles in Paris. As he told Cezanne after his small success, success in Paris requires juggling, making friends and secularism.

However, how does an honest Cezanne know? Even if he knew, he didn't care. He is simple and direct, and believes in art wholeheartedly, and Zola wholeheartedly, just as he is sincere to God wholeheartedly. Even if the world and family don't accept his choice as a painter, even if the whole circle of painters in Paris doesn't accept him, he always has a friend, Zola, who helps him, encourages him and trusts him in the most difficult time.

However, for an honest man with pure heart and full of faith in friendship, this little doubt in Zola's heart is the beginning of their friendship tragedy.

Cezanne can accept Zola's marrying his ex-girlfriend, and he can accept this friend's suggestion that you should be secular, but what he can't accept is doubt. Doubt his talent, hard work, art.

In pursuit of the perfect expression of art, Cezanne said: "I have some feelings, but I can't express them, just like a person with gold coins doesn't know how to use them." When he was young, he was very violent. He painted crazily day and night. When he finished painting, he tore and smashed it, as if his works would never satisfy him. A real genius, when he was young, often had to deal with uncontrollable fanaticism. He can't even understand this fanaticism. His inner energy is bursting, so he often does strange things that ordinary people can't understand. Cezanne used this fanaticism in his paintings. Since I got to know painting, nine cows can't pull back. But the same fanaticism, the real genius is different from the madman. The only boundary between him and a madman is his single-minded belief and his golden mean. In the depths of Cezanne's life, he was sure of his talent. He chose to finally return to Aix, live a secluded life, paint in nature every day, take nature as his teacher, take light and shadow as his friend, and practice facing nature step by step. He gradually abandoned the crazy elements in Paris painting. In his paintings, he gradually shows a kind of harmony. I can't see Monet's sensitivity to light and shadow, Renoir's lightness and delicacy, pissarro's tenderness, Van Gogh's intensity to flash and explode, Cezanne's simplicity, harmony and even his clumsy return to nature itself. The mountains of Aix are his eternal Dojo.

But a person always lives in his own time. Being anonymous for a long time, the poor boys around him are also rich, and relatives and friends ignore them and don't understand them, and society doesn't recognize them. In such an environment, a genius goes his own way in cold eyes. He's not afraid. There are still friends in this lonely world. As long as a person can understand him and see that he is different and precious, it is enough. He believes in zola. However, Zola gave him a fatal blow.

Zola, who has become a minor celebrity, wrote a masterpiece based on Cezanne, describing the story of an artist who thought he was talented, but actually didn't, and finally committed suicide.

Cezanne was very angry after reading it. He wrote a letter to Zola as a sign of breaking up. The movie Cezanne and I begins with the last meeting between Zola and Cezanne after receiving this letter.

This film shows the old feelings, embarrassment, conflicts, quarrels and even fights between the two people in this meeting. During this period, I flashed back how they met, how they became friends, how they hung out in the Paris literary circle, how they separated, how they witnessed each other's love life, and how Zola comforted Cezanne again and again, but silently lost confidence in him. In the end, because of their lack of faith and suspicion, the two men quarreled over trifles. Cezanne said that Zola had become a bourgeois he hated before, and Zola said Cezanne had always been a neet and could not support himself like himself. Cezanne said Zola was fat, Zola said Cezanne was bald, and then there was a tear around Cezanne's predecessor and Zola's present. ...

Yes, that's how friendship ended, starting with a little doubt and finally triggering a tragic break in the history of literature and art.

People can't understand how two geniuses who should appreciate each other broke up.

They all have a complete insistence on art: every time Zola has a good sentence, he always loses sleep several times, wakes up several times and revises the text several times. Cezanne stayed up all night when he was creating, thinking about a color for a long time.

However, a break is inevitable. In its extremely emotional and slow way, this film shows the fundamental division behind the seemingly mediocre and trivial contradictions of the artist.

Zola's heart is scientific and realistic, while Cezanne's heart is romantic and extremely spiritual. Zola is beautifully dressed, like a capitalist. Cezanne was covered in oil and exposed to the sun. Zulu looked like an old farmer. But the appearance of these two people hid them and turned them upside down. Zola has a soft personality and is good at serving, so although he is extravagant, he shouted in despair in front of Cezanne: "I am a loser because I write to sell well!" " "Cezanne, erin brockovich, is a bird in the mountain, suffocating in the hypocritical world of Paris and Sharon. Zola succumbed to the world with softness, which violated his original belief in art, while Cezanne opposed the world with hardness and achieved himself in daily monasticism.

People who are loyal to art will meet unexpectedly on the road of art and miss others, because the road of faith is narrow, and those who envy the glory of the world will eventually disappear in glory. Fate and personal choice have turned Zola from a poor boy into a great writer, and Cezanne from a rich second generation into a madman who lives in a mountain covered with paint every day. Zola was famous when he was alive, and people welcomed him like a hundred birds at the phoenix. Cezanne has never seen his paintings in a museum in his life. Even the curator of the local art gallery in Aix swore that Cezanne would never let his paintings enter the art gallery as long as he was alive.

However, they have parted ways on the road of art, and they are no longer Cezanne and Zola in their youth.

After 20 years of their quarrel, the famous writer returned to his hometown dressed up. Zola sat in the street of Aix, surrounded by everyone, showing off and attracting attention like a king, with his new wife and children. Cezanne heard that Zola, who had not seen for twenty years, was coming. At first, he was a little angry. Later, he figured it out and almost ran to meet him, but he heard Zola say in the crowd, "Cezanne, how is he?" He was once a little genius. "

From now on, you take Yangguan Road and I will take Naihe Bridge.

Of course, Cezanne's visit to Zola is also an artistic fabrication of the film. In fact, Cezanne's studio is far away from Aix, so Cezanne can't limp.

Zola and Cezanne were doomed to die all their lives. Later, Zola died of gas poisoning, and honest Cezanne still cried her eyes out.

With regard to the performance of this film, my feelings about guillaume gallienne still remain in the impression of a "comedian" who is a little girly. I didn't expect him to look like Cezanne in his later years, which surprised me. When quarreling with Zola in his mansion, a clear front shot, except for a little more hair on the top of his head, is too similar to Cezanne himself. Of course, Cezanne's hair problem is actually a big flaw in this movie. When Zola saw Cezanne's self-portrait, his hair was much less than Cezanne's performer himself. But guillaume gallienne vividly explained Cezanne's rudeness, sadness and loneliness. Especially when Cezanne heard people criticizing him in Zola's room, even when Zola doubted him, she felt out of breath and met Zola's mother who was panting outside the door. Zola's mother asked him to help untie her bra. She said, "It's suffocating." Cezanne lowered his head when he untied himself and finally cried. Behind him are the cold and dark building steps, and behind him is the small sound of everyone in the bright light of the window. It is loneliness. The loneliness of Cezanne. He couldn't find resonance in the crowd and no one understood him. There is a persistent pursuit of eternity in his heart, but the reality has been involved in the mediocre secularity and repeatedly attacked by people's boredom and mediocrity. This scene was well performed.

Little Guillaume, the actor of Zola, is very handsome, and his performance is quite satisfactory. In the scene of quarreling with Cezanne on the stairs, it is obvious that the air outlet is insufficient.

Perhaps the most impressive thing about this film is its opening, ending and beautiful music. It can be described as amazing. Every picture of the opening ceremony can be used as a photography teaching material. About the natural scenery of Aix, it can be regarded as a large part of Aix's tourist scenery. The ending is ingenious. Cezanne's lonely figure blends into the Aix Mountains, and then the camera directly turns to the local Mount St. Victor. In an instant, the light and shadow of the mountain changed into a mountain landscape painted by Cezanne in his later years.

Of course, the vast majority of the audience can't wait to see Cezanne's painting of Mount St. Victor with his life, experience his great pioneering work in loneliness, and wait quietly until the end of the subtitles. The display of trivial friendship has made them feel anxious or sleepy.

In this era of fast food, this film is by no means dazzling, but like an old lady's nagging. Many people are attracted by the names Cezanne and Zola. They thought the film was a thrilling tear legend, but they didn't expect to see a literary drama. But I believe that someone will like this movie as much as I do, and I like to go to the cinema several times and watch it again and again. Apart from the dazzling names Cezanne and Zola, this is actually a film about friendship, but it shows the loneliness of life inside.

Cezanne's father died at the age of 47 and his wife died at the age of 50. Since then, he has painted a series of masterpieces that have been told for ages in the history of art, among which the scenery of Mount St. Victor occupies an important position. Through observation and meditation on the unique and rugged rocks of this mountain, he formed a cubist painting method, which integrated the meditation on the natural ontology with the free expression of the individual and created a precedent for modern art.

Rilke said, "I think I know something about Cezanne's later years. He is rambling and wearing shabby clothes. When he went to the studio, the children ran after him in droves, throwing stones, as if chasing a lost dog. However, in his heart, there is a lovely person hidden, or when he is upset, he still throws his profound thoughts to rare visitors. "

Cezanne died of illness caused by a storm when he was sketching. Before he died, he was still working.

After his death, people called him "the father of modern art". He was excavated and supported, and stood on the altar of modern art like God, emitting dazzling light. However, before he died, he was so lonely.

On the road of art, people come and go every day, and it is very lively. However, people who live by art are doomed to be lonely. Because loneliness is the opposite of pursuing eternity.

Reflections on Cezanne and me (4): Zola's body has always lived in Cezanne's soul.

When I came back in the evening, my friends and I retelled the plot of the movie and checked Wikipedia to supplement some background knowledge. At the end of the film, Cezanne's paintings and comments appear on the screen (some people say Cezanne is the god of painting, Picasso says Cezanne is the father of all painters, and so on). ), I actually shed tears.

Let's talk about movie impressions first:

1, the picture is particularly clean, and there are no extra colors. I especially like the conversation between Cezanne and Zola on the boat, which is spontaneous and natural, as if in another world.

2, the plot feels a little scattered, but it may be the style of the film. I turned off my mobile phone twice, and I felt as if I had missed something, but I didn't seem to have missed anything.

3. Lack of historical knowledge of French art and literature. The names of people who first appeared in pubs are familiar, but I can't remember whether they are painters or writers. I don't quite understand Cezanne and Manet in their conflict movies.

Let's talk about personal feelings first:

1, every time I see the scenery of France in the movie, I miss it very much. I saw Cezanne go upstairs to find Zola in the movie. The staircase was almost the same as that of the family who lived in Babylon Street at that time.

It seems that being recognized is the pursuit of most people, but silence is also the choice of most people. Do most people have Zola's "body", but few people want to chase Cezanne's free soul?

So be strong first.

Both Zola and Cezanne, friends with distinctive personalities, are enviable.

Reflections on Cezanne and me (5): Follow Cezanne and see through the artistic beauty of Provence in May.

May is a beautiful month, but after the cruelest April, spring is not completely gone. The Sino-French Cultural Spring has been in its twelfth year in the Mainland, but the "French May" Art Festival has been in full bloom in Hong Kong for 24 years-"Since 1993, it has presented more than 500 first-class programs and is the largest French art festival in Asia".

The highlight of "May in France" may be an art exhibition. But limited by my major, I am mainly interested in the planning of film modules. This year's "French Film Tour" is entitled "The Beauty of Art". Miss Lin Jiaxin, a famous actress from Hong Kong Island, selected ten French films with artistic hymns. Among them, director Cai Mingliang, who has a deep friendship with Schwab, was invited to the Louvre to shoot Face, which is very rare.

The latest of the ten films is especially suitable for watching in May, because its "impressionist" image presents Provence as the wind and light in May. This film is Cezanne and Me directed by Danielle Thompson, a French contemporary film actress. The life-long confrontation and friendship between Paul Cézanne, a pioneer of modern art and an impressionist painter, and Emile Zola, a naturalist writer, are described in this paper.

Biographies of European celebrities have almost become a genre, and artists' lives are a natural story theme, such as Sarafina in Flowers Bloom and Flowers Fall and john turner in Mr Turner. The tonality of each film is somewhat similar, perhaps because artists are always romantic, free, allergic and neurotic, hovering between sublimation and self-destruction.

Cezanne and I have some common features, but it is better than the unique structure. First of all, it focuses on a dispute that decided each other for the rest of their lives when they were about 50 years old-how Zola's short story masterpiece took Cezanne as the prototype, crushed the latter, tore up their lifelong contacts and pieced them together to fill the gap in this dispute. Secondly, the film juxtaposes two people who are opposed to each other everywhere, which not only describes the genius war of Hollywood's "old enemy" style, but also creates a series of opposing elements that interfere with each other, revealing the conflict law of the whole era.

The relationship between Cezanne and Zola is common sense in the history of art, but it is unfamiliar to the general public outside France. These two people are separated from each other in painting and literature, and have different ideological styles. In fact, they have known each other since they were thirteen years old and grew up together in Aix, the capital of Provence. They used to be very close when they were far away, but they fell apart after the masterpiece incident, so Cezanne was far away from the mountains-the two close friends never seemed to meet again. The film didn't spend too much ink on the scene where they grew up together, and didn't even care too much about the Gelbowa Cafe where artists gathered. However, people always notice that it is not easy to use these paragraphs as footnotes for the decisive quarrel between the two. Some viewers may feel that the emphasis on quarreling and drama has slightly raised the threshold of viewing effect. However, such a design requires that lines can directly hit the depths of the soul, and the test of writers' literary skills is really much higher.

Cezanne is the representative of impressionism, while Zola is famous for her naturalistic depiction of Paris. Formally concerned about the ideal world, realistically concerned about real life; The former was well-off but divorced from his parents and lived a poor life. The latter worked hard step by step and finally moved from the bottom of Paris to a magnificent mansion. Things in the world are so coincidental. Similar figures can be found in Godard and Truffaut, as well as in Ji Kang and Dan Tao, the seven sages of the bamboo forest. It is not unusual for Cezanne and I to set up such a pair of characters, but it is worth noting that the title emphasizes that Zola is "me", Cezanne or Cezanne.

In fact, we can't successfully guess whether the film is equipped with Zola's first-person confession. The meaning of "Cezanne and I" is more subtle. It seems that "I" has been interpreted from the creator and audience as the real individual of you, me and him, while "Cezanne" has become a symbol of artistic ideal. A character in "I" works exists in the imagination and dialogue of "I" and walks in the precious moment when the lights turn on and off. Therefore, although Cezanne is crazy and scary-tempered, he always seems to be a little higher in quality and morality than Zola "I" in his heart. I almost love Cezanne with inferiority and jealousy-that's why the film ends with Cezanne's Walking in the Mountains and regards the spiritual understanding of the father of modern art as the film's exploration of eternal "artistic beauty". In the real world,

Perhaps from the director's attempt to expand the functional space of the film, the two roles are played by two actors named Guillome: one is Guillome Gaglini, the "Hua Dan master" of the French theater, and the other is guillaume canet, marion cotillard's lover and all-round filmmaker. Some people say that Cezanne's paintings can feel a wonderful sense of balance when viewed upside down-the mirror setting of Cezanne and I may also be inspired by this painting perception.

The audience in China may not be familiar with the name of director Daniel Thompson, but they will be familiar with her films. She is the beloved daughter of Gerald Yuri, a famous French drama director. At the age of 24, he participated in the comedy classic and box office champion "Escape from Danger". Later, she not only supported her father's comedy creation many times, but also cooperated with many famous directors, such as Claude Pinocchio, who filmed The First Kiss, and Patrice Chereau, who filmed Love Me and Take the Train. As a well-known screenwriter, Thompson has directed five works independently, and her son is also embarking on the road of film director.

Thompson's background reminds us that Cezanne and I are still the representatives of the new "quality movies" in France today. Its high quality is reflected in its emphasis on European cultural customs and social customs, which may be seen from Gerald Uri's words and deeds; Reflected in the super stage characteristics of the film and the dramatic background of the actors; It can also be reflected in the exquisite art and photography of the film.

In the face of a painter's biography, what you never have to worry about is that the beauty of the picture is not enough. Photographers or directors who dare to challenge this theme must have read the painter's works several thousand times. Therefore, every special scene in Cezanne and I, Aix in Provence, Mount Saint Victor and the countryside in May, is like the scenery written by Cezanne himself, with such soft colors and orderly structure. Every supporting role is like a bathing girl in the painting, full and pure, revealing freedom. That gentle touch even emerged from the image, superimposed with the sound of the wind blowing through the leaves. However, in this beautiful audio-visual scene, we can't get rid of the disturbing broken friendship between Cezanne and Zola and between Paul and Emile. Moreover, we know that the breakdown of this friendship is not caused by accident and misunderstanding, but directly stems from the natural gap between ideal and reality.