Introduction to brothers karamazov's Story

Introduction to brothers karamazov's Story | Appreciation | Reflection

1969 color film 207 minutes

Produced by Moscow Film Studio of the Soviet Union.

Director: Ivan Pyryev (based on Dostoevsky's novel of the same name)

Photography: Sergei Volanschi's main actors: Mikhail Ulyanov (as Dmitry), kirill Lovlovlov (as Ivan), Andrei Miakov (as Alisha) and lyudmila Pellier (as Grushenka).

abstract

/kloc-the old Russian society in the second half of the 0/9th century was in a very turbulent period. The backward and closed life style of patriarchal villages and the new capitalism with serious congenital defects are combined in opposition: the small-scale peasant thought of maintaining the simple Christian national spirit of fraternity and the private concept of damaging people's moral mind, and a series of struggles for money, beauty, crime and murder have been launched around overthrowing religious beliefs ... What happened in Kara Matsov's family.

When old Carla Matsov was young, she was a clown who lived by teasing rich children. Later, he made a fortune with his wife's property and owned100000 pounds of furniture. His two wives were tortured to death by him. All three sons were driven out of their homes by their fathers, and when they grew up, they returned to their hometowns one after another, and they had sharp contradictions with their fathers for money and beauty. The eldest son Dmitry fell in love with his father's young mistress, the romantic woman Grushenka, and became jealous with his father. The contradiction intensified, and Dmitry repeatedly threatened to kill the old goat. Ivan, the second son, hates his father and brother at the same time. Because he fell in love with his brother's fiancee, Katrina, a woman who Dmitry tried to tarnish his reputation at the expense of saving his father in the army. Ivan hopes that "one villain eats another villain" in the killing of his father and brother. As long as his father dies, he will not only get the inheritance, but also marry Katrina, because his brother married Grushenka. The youngest son, Alesha, has believed in Christ since he was a child. He grew up in a monastery with Zosima, running between his brother and father, hoping to influence them to do good with the Christian spirit and eliminate the competition for money and beauty. There is also an illegitimate child of old Carla Matsov who raped a crazy girl, Sumaru Djakov. Although he was a slave of this family, he always dreamed of killing the old man and fleeing to Paris to open a restaurant. His greed, meanness and malice inherited the bloody temperament of old Carla Matsov.

So brothers karamazov staged a tragedy of murdering her biological father: Katrina entrusted Dmitry to send 3,000 rubles to Moscow, and the latter took Grushenka out to squander the money. Dmitry begged Aletha to ask his father for 3,000 rubles to return to Katrina, but his father refused. At this time, he heard from Sumaru Djakov that the old man specially packed 3000 rubles and gave it to her when he came to pick up Grushenka. In order not to be disturbed by the tryst, the old man sent Ivan out to sell forests. When Ivan left, Sumaru Djakov hinted that something might happen to the old people here. That night, Dmitry got jealous and went straight to the old man's house. He didn't find Grushenka and went over the wall. Gregory, Lu Yu's old servant, wounded him with a hammer and went to Grushenka again. Sumaru Gakov took the opportunity to sneak into the old man's room and kill him, then took 3,000 rubles to create a fake scene, and then went back to the house to pretend to have a seizure and shouted wildly. The panicked maid found her master dead on the ground, so she went to the police station with Gregory who woke up. In another small county, the police arrested Dmitry who was having fun with Grushenka. Ivan talked to Sumaru Djakov three times after he came back. The latter finally admitted his crime, but stressed that this crime was acquiesced and even encouraged by Ivan. Sumaru Djakov gave Ivan 3000 pounds of stolen money, sent him away and hanged himself. During the trial, Katrina submitted a letter threatening to kill her father to the court out of jealousy and revenge. Although Aletha concluded that eldest brother was not the murderer, he could not produce any conclusive evidence. Although Ivan confessed the facts, it was rejected by the court on the grounds that Sumaru Djakov was dead and there was no evidence. 3,000 rubles can't prove to be stolen money. Ivan was diagnosed with mental illness by the doctor, and his testimony was invalid because of guilt and self-blame. Finally, the court sentenced Dmitry to 20 years of hard labor. Although Dmitry has always denied that he is a murderer, he admits that he has a guilty conscience and is willing to accept punishment innocently to wash away the sins of his soul. Grushenka was brave and fearless, and resolutely accompanied Dmitry to serve in Siberia ... Both she and Dmitry were reborn in their conscience, and Aletha rebelled against the God he was keen to preach in the face of cruel reality. ...

Distinguish and appreciate

This film is based on the original work of Dostoevsky, a great Russian writer in the19th century. The charm of Dostoevsky's original works, as the French writer Camus said, "No one has endowed the absurd world with such intimate and painful magic like Dostoevsky." Almost all the world famous writers who were contemporary with Tuo and later gave positive comments on Tuo's works. After the two world wars, both the west and Japan once set off a large-scale championship fever. On the occasion of the anniversary of Dostoevsky's birth 197 1, brothers karamazov alone was published in the Soviet Union that year, with 500,000 copies. This book is Dostoevsky's last work with a life-long summary. This voluminous masterpiece of more than one million words has been brewing in the writer's mind for 30 years. It puts forward a question about the fate of human soul, and launches a series of social life pictures about money, beauty, murder and crime around the contradiction of religious belief. The philosophical conception and belief contradiction of the whole work, as well as the personality of each specific character, are the reproduction of the author's own thoughts, beliefs and inner world, as well as the reproduction of his relatives or his own personality.

For such a masterpiece, it is difficult for ordinary people to edit and direct. Pellijeff, a well-known director, has unique conditions: he experienced hard war years in his early years, studied acting and screenwriter, and has been an assistant director since he was 24 years old, combining the talents of editing, directing and acting. At that time, he had shown a preference for grotesque style and humorous genius. Pyryev's artistic genius is mature in his characterization full of vigor, passion and vitality, especially his vivid, intense, stormy and intoxicating lyric poems. This aesthetic tendency coincides with Dostoevsky's personality, so he is like a duck to water and has directed a series of Dostoevsky's works: * * * (199). Pellijeff's artistic genius has been fully displayed and embodied in these films. From 65438 to 0969, Moscow Film Studio awarded Pellijeff (after his death) outstanding contributions to the Soviet film art.

Pyryev faithfully followed the original spirit and reproduced brothers karamazov on the screen with the realistic artistic style of film vocabulary. He is not keen on showing the details, process and court investigation of premeditated murder, but pays attention to highlighting the sharp contrast between several groups of typical characters who complement each other. Through in-depth analysis of the inner world of the characters, he renders rich and complex religious feelings and embodies the contradiction between good and evil in human nature.

First of all, the director is not influenced by rigid characterization when he expresses two completely negative characters, old Carla Matsov and Sumaru Djakov. He did not show them as pure villains, but focused on discovering the human factors that occasionally glow in them. For example, when old Carla Matsov received her youngest son Aletha several times, her eyes showed her gentle love for the child who had no intention of competing for property. Whenever he talked with Aletha at the dinner table, he seemed to be infected by Aletha's kindness, and confided to Aletha the question that tortured him deeply: Is there a God ... When Alesha left, he also showed his father's attachment to his son and hugged him sadly. This is completely different from the big fight between him and his eldest son Dmitry. So is Sumaru Djakov. When Ivan talked to him after he killed his father, although he confessed his crime with revenge and condemned Ivan's hint, when he told the maid that he wanted to open a restaurant in Paris, his face also showed the desire of normal people to pursue a beautiful, independent and free life. This treatment is not contradictory to the final result of two villains, one killed and the other killed. On the contrary, it increases the color level of the role, making people feel that the scum in the world is human no matter how evil. When denying this plump and reasonable negative effect, it causes people to think deeply about the good and evil of human nature. Against the above-mentioned villains are Aletha and the elder Zosima. The director designed these two characters to be peaceful, pious, generous and beautiful from appearance to heart and manners. Alisha often uses close-ups in her films. After zooming in from a distance, the still portrait image is used: Aletha is as pure as transparent fog, his neck always leans forward slightly, his bright eyes shine with dust removal, and his thin and soft curly hair is like a living Christ on the earth. Throughout the film, Aletha's words are very few, basically silent, and once spoken, those simple words are very important. When Ivan finished the story of telling his evil dog to tear up his child alive in front of his mother, Aletha replied with the word "shoot". The surprise in his eyes shows that the kingdom of patience and forgiveness in his chest has been broken by Ivan's humanitarian voice.

Dmitri and Ivan, who are divided into positive and negative groups, are two characters who write more about directors. In the moral of Dostoevsky's original works, "Kara Matsov temperament" has been richly reflected in these two characters. Dmitry, 28, was born fanatical, impulsive and reckless. He is generous, frank, rich in * * *, indulgent in evil and dissolute. His motto is "... if I want rolling in the deep, I'll just fall upside down ...". The director portrays Dmitry as a Cossack who is tough, brave, handsome and vicious. Dmitry in the film is fidgeting from beginning to end. He is always moved and pursued. He loves passionately when he loves and despairs when he hates. If you have the courage to do evil, your conscience will have the courage to bear it. He confided to Grushenka and Aletha several times: "Beauty is a terrible thing! The terrible thing is that it is unpredictable ... It begins with the ideal of the Virgin Mary and ends with the desire of Sodom (the symbol of lust) ... Is beauty in Sodoma? Terrible beauty is also a mysterious thing ... Here, the devil struggles with God, and the battlefield of struggle is the human heart ... "The director vividly embodies the connotation of religious theme and Kara Matsov temperament in the whole film through Dmitry's narration. Ivan and Dmitry are complementary in character, but different in action. Ivan mainly embodies the struggle between two opposites in his deep soul. He is depressed in the film, always thinking and contradicting. The root of Ivan's pain lies in his infinite and absolute love for life, and the cruel reality and fate are hard to pay for this love. As a result, he fell into infinite despair, angrily reached the conclusion of using evil to control evil, and became the vertical instigator of Sumaru Gakov's murder of his father.

There are two women horizontally associated with Dmitry and Ivan: Grushenka and Katrina. They all belong to a kind of temperament that is beautiful, high-quality, educated and brave to resist in bad luck. Obviously, these two women are an extension of the heroine Nasta's character in * * *. Katrina was abandoned by her fiance, but her old love was never easy. She was jealous of Dmitry's love for Grushenka. Catalina in the film is lofty and neurotic, muttering endlessly, always with a ever-changing expression of Gherardini. She loves passionately, hates madly, chews her own pain, plays with her own wounds, and grabs the satisfaction of revenge in the process of torturing herself. In the whole film, the most brilliant and glorious role of the director is Grushenka. Lyudmila Pellier, the actress who plays Grushenka, is Pellier's wife in real life. She successfully played the role of Nasjinka in White Night. Nasjinka is a pure, kind, dreamy and emotional girl, but the role of Grushenka is quite different from it. According to the spirit of the original work, Grusinkayan attacked Nastasia's appearance in * *. Dark brown hair and black eyes, plump and elegant figure, arrogant and cunning, extremely feminine, intelligent, emotional and dissolute. On the one hand, she can't live without a rich material life, on the other hand, she is angry with men who treat her as a plaything. There are four wonderful performances in the film, which are obviously more colorful and mellow than those described in the original. The first place was when she was at Katrina's house. At first, she was so generous and easy-going, and suddenly she became sour. She was not only angry, but also slightly raised her lower eyelid. Her expression is cold, contemptuous and vicious, which reminds people of the arrogance and majesty of the Regent. The second place is to have fun with Dmitry in the hotel. Her coquetry, liveliness and coquetry are all shown in Zgang-style songs and dances. In binge drinking, her eyes often sparkle with deep sadness and pain, and are always accompanied by numbness and indifference. This is a way to paralyze her pain caused by pursuing a noble and beautiful life by getting drunk. The third place is in her own home. When Aletha visited, Grushenka sat upright on Aletha's lap, which made the yogi at a loss and showed his joy in discovering the beauty of women for the first time. Grushenka missed Doby and Aletha, but when she saw Aletha's sincerity and pure heart as gold, she was deeply shocked, as if awakening her conscience. Inspired by Aletha, she felt guilty and blamed herself, and turned to worship God, hoping to save her filthy and painful soul from her pious faith. The fourth part is the most * * * part of the film: when the court has sentenced Dmitry to serve his sentence in Siberia, Grushenka is dressed in black with a new belief on his face, bravely and chivalrously accompanying Dmitry to serve his sentence. Her eyes were full of calm and sadness. When she turned around, she raised her long black scarf over her shoulders, which showed the unique determination and perseverance of women. Grushenka's performance greatly exceeds the information provided by the original, which shows that the director and actors have deeply realized the characteristics of the original author's female aesthetic view: the contradiction between beauty and ugliness, nobility and indulgence is mixed with morbid fanaticism. This deformed beauty contradicts the harmonious law in people's aesthetic habits, but it is precisely this disharmonious deformation that highlights the beauty of women's resistance, rebellion and perseverance, thus extending the ethical beauty of striving to realize the value of being a noble person, thus strengthening the profound tragic beauty of being willing to pay suffering and self-sacrifice for the ideal. Obviously, the combination of Pellijeff and lyudmila in real life reflects their highly consistent synergy in the pursuit of making Dostoevsky's spiritual films artistic. Although there is a big age gap between them, lyudmila, like Pellijeff, plays the heroine in Tolstoy's works like a duck to water, and finds a vast world to play his acting talent. Unfortunately, however, the director died suddenly after shooting the second film in 1967. The third film was completed by the main actors under the guidance of the director's overall concept. The third film is the most dazzling part of the whole film, which shows that the main actors have thoroughly understood and grasped the spirit of the screenwriter and the will of the director. Lyudmila, in particular, was fascinated by her performance in the third film. There is no doubt that the pain in Le Yan and the sadness before she left have a lot to do with her real feelings of losing her husband, holding back her grief and persisting in finishing the film with tenacious perseverance.

Although the film adopts a realistic approach, the director moderately grasps the religious atmosphere and psychopathic color of the whole film. At the beginning of the film, there is a magnificent Russian Christian cathedral. The tall, solemn and magnificent external landscape directly shocked the hearts of the audience. Then the camera turned to the inside of the church, and the details of the murals led people into the Bible journey under the golden tone ... When the camera went straight into the steep church vault from bottom to top, it seemed to attract people's souls to the sky ... This not only properly showed the abstract image of the original author's "Spiritual Cathedral", but also presented the mysterious religious theme to the audience with silent picture vocabulary. The dialogue of all the characters in the whole film is almost inseparable from "Is there a God?" The topic, and no matter which group of characters, is tortured by this inner contradiction: old Carla Matsov is a furious madman, an erotic madman and a persecutor; Sumaru Gakov is crazy; Dmitry is restless and possessive; Ivan is depressed; Alessa is obsessed; Katrina is masochistic, jealous and hysterical; Grushenka is moody and changeable ... These physical and psychological perverts roam the spiritual world that normal people can't reach because of their intense and extreme experience of life. The characters in the film seem to be discussing, arguing and talking about religious issues in a semi-dreamy state. This abnormal color between morbid and normal people adds a religious flavor to the film. What I want to mention here is that the original only pays attention to the description of people's inner activities, and there are few descriptions of details such as appearance, expression and action. The successful creation of directors and actors lies in firmly grasping the religious soul of the original work and developing its plump and concrete image from all angles.

Pellijeff is also unique in the structural arrangement of this film. The film is divided into three parts. The first part fully shows the character's character, pushes out the contradiction without expanding it, and gives the audience a nervous psychological expectation. The second part is a boring and lengthy dialogue, and the debate between different viewpoints is inevitably boring and monotonous. When the audience's patience reached the critical point, those interesting plots followed, the murder case was confusing, the crime process was flickering, and the atmosphere turned sharply in a very short psychological time. Finally, * * * came suddenly, broke out quickly and ended unexpectedly briefly. At first, the court seemed to be in Dmitry's favor. When Katrina was jealous and took out perjury, the judge quickly sentenced Dmitry to murder. However, Dmitry's violent resistance and refusal to plead guilty to sudden willingness to endure injustice and suffering for others is another bizarre reversal. Followed by the last scene: the cold wind blows hard, and Grushenka, dressed in black, goes to prison with Dmitry. They are proud and beautiful, they are tragically reborn in the arms of Mother Earth ... and their souls have finally found a home.

This structure lengthens the middle section, dilutes the plot, highly concentrates the * * *, and puts the explosion point on the edge of the box, so the momentum does not converge at all, and the excessive excitement of the audience has not been fully erupted, released and vented, so it suddenly stops, and the drama and the audience's feelings seem to rush out of the box together. This unbalanced structure causes the psychological imbalance of watching movies. The director left the complete * * * boundary outside the box, allowing the audience to gallop freely without induction, fill in the blanks in a hurry and create again, thus dispatching the audience to participate in the creation, thus obtaining full psychological, emotional and artistic appreciation satisfaction.

It can be said that the aesthetic ability contained in this film has greatly exceeded the territory of realistic art.