Introduction to the Story of Flying South in Wild Goose

Introduction to the Story of Flying South in Wild Goose | Appreciation | Reflection

1957 black-and-white film 90 minutes.

Produced by Moscow Film Studio of the Soviet Union.

Director: Mikhail Kalatozov Screenwriter: Victor Rozov Photography: Sergei Urusevsky Main Actor: Tatiana Samoilova (Veronica) alexei batalov (Boris)

This film won the Palme d 'Or Award at Cannes International Film Festival from 65438 to 0957.

abstract

Veronica was unprepared for the outbreak of war.

She is in the happiest period of her life. She has a warm home. At home, she is the darling of her parents. She will enter the School of Architecture in autumn. More importantly, she has Boris. They love each other deeply. Veronica believes that she will be happy forever. She has imagined herself floating beside her husband in a white gauze when she got married countless times. Veronica is full of confidence in her future happiness. When she knew that the war had begun, she also thought that it would not affect her beautiful future life.

Only when Boris suddenly told her that he had signed up for the army and was about to leave did she realize that her life had really changed.

Boris is gone. Veronica didn't even have time to say goodbye to him-when she hurried to the station, she only saw Boris go away with the motorcade in the distance. Veronica threw a packet of biscuits at Boris. The paper bag fell at the foot of the frontline soldiers and was crushed by a pair of leather boots. ...

The real blow is yet to come. Veronica's lovely home was almost razed to the ground in an explosion. When Veronica rushed from the bomb shelter to the house where she had lived for so many years, she only heard the only surviving small wall clock ticking away. For Veronica, time stopped. Her parents and lovely home were lost. What else is there in her life?

Now, Veronica's only hope lies in Boris. She firmly believes that no one can take away her Boris. She lives in Boris's house, so that she feels that she is with Boris every day. However, Boris hasn't heard from you for a long time.

Veronica doesn't know yet. Just as she looked forward to the letter in front of her day and night, Boris was already dead. Shortly after he arrived at the front line, he was hit by a stray bullet in a March. When he slowly fell to the ground holding the trunk, he saw the wedding with Veronica: Veronica danced in a long white gauze, surrounded by flowers and smiling faces of relatives, and melodious music immersed the couple in incomparable happiness ... However, all this became a dream that could never be realized.

Boris has a cousin, Mark, who also lives in Boris's house. He always shows attentive attitude towards Veronica. Veronica was good to him, too. Isn't Boris's cousin his own relative? But on a terrible night, when the whole city was caught in the horror of air raid, something even Veronica herself felt incredible happened-she dedicated her virginity to Mark.

Mark announced to his uncle's family that he was going to marry Veronica. From this moment on, Veronica really fell into endless pain. She lost not only her relatives, but also all her friends and all those who loved her. Because she betrayed Boris. This was especially unforgivable at that time of great suffering. Although in fact this may not be called betrayal, because Boris is dead. But in spirit, it is another betrayal, because Veronica still thinks that Boris is thinking about her ahead. In fact, she is thinking about Boris, too.

Besides, Veronica and Mark were not happy after they got married. Mark is actually a mediocre man with heavy habits. While everyone contributed to the victory of the war, he mixed in some speculators and gave Veronica's beloved toy squirrel (a gift from Boris) to a woman who was having an affair with him. Veronica knows all about Mark's qualities. She knew that she had been cheated and decided to break up with him.

Veronica is taking care of the wounded evacuated from the front line in the hospital. Veronica felt guilty in front of them because they all fought in front like Boris. Once, an injured person was suddenly excited after receiving a letter from home. It turned out that his fiancee was going to break up with him. Boris's father is the director of this hospital. When he comforted the wounded, he denounced the women who betrayed their relatives who fought in the front line. Everything he said pierced Veronica's heart like a sword. She ran out of the hospital and ran to a bridge, but she tried to jump from there all her life. Just then, she suddenly saw a little boy about two or three years old hobbling in the middle of the bridge, and a big truck was coming quickly. Veronica ran desperately to pick up the child and held him tightly in her arms. The accident was avoided. Veronica's heart is full of maternal love. She picked up the little boy and walked off the bridge. She knew she should live.

Veronica works hard. She works day and night and is very quiet. Her only hope is the letter in front of her. She waited for a long time, but didn't expect anything. But she still firmly believes that she will receive a letter from Boris. Finally, one day. She received a man from the front. But he brought bad news. He told Veronica that Boris was dead.

Veronica couldn't believe it for the world. She has been looking forward to so many days and nights. Is this the result of waiting? No, her Boris will not die. She knew he was thinking of her in the distance, because she was thinking of him, too.

Veronica is still waiting.

The war is over. A large number of soldiers returned from the front. Veronica came to the station square with a bunch of white flowers in her hand-this is the last place where she saw Boris. She saw Sergei, a comrade-in-arms who went to the front with Boris. He is an officer now. He is standing on a tank and addressing the welcoming crowd. He also saw Veronica. He said loudly to the crowded crowd in the square: "We deeply understand how sad those who haven't seen their loved ones today are ... We will do our best to stop the fiancee from losing her fiance and the mother from worrying about her children ... We won, and we will live, but not for destruction, but for building a new life!"

Veronica looked at Boris's comrades-in-arms and the smiling people around her, and a smile spread on her face. She began to hand out flowers one by one to the returning soldiers.

Overhead, a flock of geese are flying in the air. Veronica looked up at them. How familiar with the kind goose. A few years ago, when she and Boris were laughing heartily by the Moscow River, didn't rows of geese often fly overhead?

Veronica walked forward. She knows that life goes on.

Distinguish and appreciate

Flying South in the Wild is one of the most important Soviet films in 1950s. It marks the beginning of a new period in the history of Soviet film. After the mid-1950s, ordinary people began to become the main characters on the screen. What the audience sees in the film is the people they are familiar with and can often meet in their surrounding life. Their joys and sorrows are often felt by themselves, so it is easy to understand, especially in many films showing wars, the suffering and tenacious struggle of the protagonists can arouse the audience's * * *. Such works make the audience feel cordial. The appeal of the work comes from the authenticity and life description of the characters, so it is particularly easy for the audience to accept.

Veronica, the heroine of Wild Goose Flying South, is not an outstanding hero. She is actually a very ordinary person. Not only is her personality weak: she is naive and gullible, but she is unrealistic in her fantasy, her vision is not wide enough, and her spiritual realm is not high enough. However, what happened to her truly represented that era, so it won a place in the hearts of the audience.

Veronica's image is real. She has grown from a girl who only cares about personal happiness to a mature person who has gained life experience and firm belief in life, and has experienced many hardships and lessons. Although she has not been to the front, she has also been tempered by war. Her growth was achieved step by step and through countless pains. She was not prepared for such a test, but the times stimulated her and made her and thousands of people in Qian Qian go through tests again and again. So the audience experienced their own feelings in her feelings and their own growth in her growth. The audience likes this image because they find themselves in it.

Flying South in Wild Goose is welcomed by the audience because of its wonderful performance. Film is one of the representative works of Soviet poetry and film schools in 1950s and 1960s. Kalatozov, the film director, was an advocate of poetry films in 1950s. He believes that "a real movie must be a poetic movie! This should be the case in terms of scripts, image processing and means of expression. " He said: "The thoughts and intentions of making a film should be expressed through the broad colors of poetry", because "the leap of poetry can give artists a philosophical point of view, a far-sighted spirit and a high-spirited spirit from a height". However, Kalatozov does not exclude factors other than poetry. He said: "Poetry film and rational film are not two parts separated by an insurmountable abyss ... A work that combines these two factors will gain new and powerful power."

Kalatozov's thoughts are clearly reflected in Flying South in Wild Goose. The poetic features of this film are not simply reflected in metaphor, symbol and analogy. It runs through the whole idea of the film. There are a lot of prose descriptions in the film, but even these paragraphs are full of poetic flavor. At the beginning of the film, the description of the love between the hero and heroine (walking along the Moscow River and gentle words at Veronica's house) is full of poetry, and even the handling of Veronica's tragic situation (Veronica's deep yearning for Boris, the scene of Veronica rushing to the bridge to commit suicide) is also full of poetry, not to mention the scene of Veronica's farewell at the station and the wedding phantom that emerged before Boris's sacrifice. You can regard "Flying South in Wild Goose" as a lyric poem. It consists of many paragraphs, each of which is a poem.

The characteristics of the poetic film Wild Goose Flying South are particularly prominent in photography. It embodies the theory of "emotional photography" that appeared in Soviet movies in 1950s and 1960s. According to this theory, film photography should not be a record of objectivism, but a strong emotional color. Photography must "interfere" with the life expressed in the film in order to impress the audience more deeply. The photography art of "Flying South in Wild Goose" embodies this idea. Take the scene of seeing Veronica off at the station as an example. Veronica walked through the crowd looking for Boris. The camera followed Veronica closely through the crowd. From Veronica's search in the square to the end, she saw Boris standing in line and throwing away the cookies. Most of the shots of 1 1 are close-ups, with only three middle shots and one panorama. This gives the audience an immersive feeling. The shaky shot of walking through the crowd is not only a subjective shot representing Veronica's sight, but also shows Veronica's nervous and excited mood, and as a result, the audience becomes nervous. A strong sense of the lens affected the audience. Another example is the scene of Boris's sacrifice, which has become a famous section in film history. When Boris was shot in the Woods, he suddenly looked up into the air for the first time. At this time, the camera is facing the sky, and the sun in the cloud suddenly shrinks and seems to be far away. Then Boris leans against a birch tree and slides down it slowly, and then there is the overhead shot of the birch tree. The birch tree rotates in the direction where Boris slides down around the trunk. Then there is a long subjective shot. Boris's hallucination appeared on the background of a rotating birch tree: he walked slowly down the stairs after his wedding with Veronica, and the white gauze on Veronica's head brushed Boris's face. There were flowers and people around, and then the illusion gradually disappeared, and the birch tree turned faster and faster, as if to be crushed. The camera seems to have slipped from the treetops to the ground. Then in the middle scene, Boris falls into a puddle with his hands open. A total of 10 shots were used in this scene, basically close shot and middle shot, which firmly grasped the audience. Boris's mood swings at the moment before he died (the film extended this moment for a long time, which is a poetic technique) were exciting, making the audience's heart twitch and forget everything around them. This is the power of "emotional photography".

In a word, Flying South in Wild Goose is not a philosophical film, although it shows the major problems of the times. Its power lies not in logical reasoning. It mainly appeals to the audience's emotions and relies on rich artistic images to shock the audience's hearts. From this point of view, "Flying South in Wild Goose" is a very successful poem and film.