Appreciation of Sarasate's Song of a Wanderer

The feeling of watching "The Affordable Lightness of Being" with headphones in the darkness of the pull-tab room of the Film Academy is engraved in the deep heart. Apart from the image, the feeling of concentration is no different from the quality of sitting in a cinema. There is not much comparability between movies and novels. In fact, the film can't bear such a heavy abstract philosophical significance. Just as Eisenstein can't put Das Kapital on the screen.

I have heard many people criticize that the film has lost its profound meaning in the novel, and there are too many traces of broken glass in Hollywood. I am a little disappointed to see that those mysterious and clever words have become a popular love soap opera, and the political and philosophical significance has become a vague background. Later, I slowly fell in love with this popular love story, and also fell in love with the music of Eastern Europe. Looking at Godard and Ferini all the time, I'm still a little tired. What does the film rely on to impress the audience or the heart of elegance and vulgarity? No matter whether they are from Yangchun Baixue or Xialiba, they all have a thirst for words such as love and happiness. Thomas and Teresa, Teresa and sabina, Thomas and sabina, sabina and Flantz, Thomas and countless women, Teresa and the man she met by chance ... are either right or lonely, struggling with love and desire.

Consciousness lingers between loyalty and betrayal, introspection and confusion, and the problems of lightness and heaviness are always accompanied. There is confusion about the times and thinking beyond the times.

The soul silently watches over the body, but the body obeys the needs of the ontology. This is why Thomas will always be unfaithful and Teresa will always suffer. Although sabina also needed an emotional home, he chose freedom and continued to betray. When all the heavy thinking is lost, it becomes unbearable lightness in life, while still feeling unbearable heaviness in life.

Jean-Claude Carriere, one of the screenwriters of Love in Prague, knew Kundera from 1968, so he should be able to extract the plot from the cover of words. This story is not bad.

When everything was depressed, Thomas looked for opportunities to have fun with all kinds of women, whether standing on the operating table or being exiled to clean windows. Self-control at this time is far less firm than refusing to write a confession. Such firmness made his betrayal of Teresa look less hateful.

Daniel Day Lewis's ice-blue, almost transparent eyes are cunning, dissolute, melancholy and full of charm, searching for prey everywhere. In the age of innocence, Lewis, with a full face of vicissitudes, sat alone under the lover's window, letting the curtains flutter in the wind, closing the window and silently getting up and leaving. Another interpretation. It's a pity that beautiful isabelle adjani has never enjoyed faithful love in her life. The real Lewis is just a little more restrained than Thomas.

Sabina always wears a black man's hat, maintaining freedom and independence. I clearly remember what sabina said: I'm not against materialism, I'm just against kitsch. We are all against kitsch, but kitsch is an inevitable part of human beings. No one can escape the natural fate of mankind. We always live in paradox and are always exploring unanswerable questions.

In Switzerland, she received a letter containing the bad news of Thomas and his wife, and she burst into tears. It ended the ambiguous but real touching relationship between three people. Another Chinese translation of the movie name is Heavy Floating Life, which is not profound but heavy because of such a world.

Teresa, always like a cute, naive and easily injured deer, loves Thomas sadly and desperately. She said, next time you go to those women, will you take me with you? Let me help you undress. There is no hope at this point, and people can't help sighing.

The beauty of Juliette Binoche is displayed here. Julie in Blue is endowed with too many heavy meanings, which are not secular and can only be seen from a distance. Teresa here, reading on the sunny grass and sliding like a fish in the swimming pool, are all pure and beautiful girls who belong to this world. Some people say that Binoche is like the first ice cream in spring. Her beauty is not only a kind of natural beauty, but also an elaborate and complicated device. The pendulum swings in an arc, with classical Europe on the left and nude Europe on the right.

Teresa's love and dependence on Thomas was simple at first. This change awakened her inner strength. Desperate to take photos of the Soviet muzzle, when she left Thomas alone, she had grown up.

Fortunately, the two finally had a day of wanting nothing, and a day of being accompanied by a pet pig and pet dog in Taoyuan Wonderland.

Just as I recognized Chen as Lin Daiyu after watching TV series many years ago, I feel that Teresa Teng looks like Binoche.

The film caused a lot of bad reviews. Many critics regret the absence of the narrator who appeared in the novel publicly, and also discuss the irreproducibility of Kundera's novel and whether there is identity between literary narrative and film narrative. I remember there was a discussion on bbs. Most people scoff at this film adapted from literary works and think it is difficult to convey the spirit of the novel.

When I was reading Schlondorf's Tin Drum, I only saw the surprise of Oscar in Gunter grass's novel Tin Drum, without much discomfort. Since it is an adaptation, why do we have to follow the old road?

Later, I came across the unbearable lightness of life: film adaptation from different perspectives written by an American named Pa catrice. Pa catrice mentioned the concept of "crossing distance" in novels and movies, that is, the focal length transformation in narrative sense. Another concept, "zero focal length", refers to focusing on a specific person. This is related to Genette's concept of distance, which refers to the metaphorical distance between the story and the reader (viewer). The more obvious the existence of the narrator, the greater the distance between the reader/audience and the story. Compared with the two, the distance reflected in the novel is much larger than that in the movie. Because the narrator in the film is missing. The narrator who jumps out from time to time in the novel plays a great role in separating.

In fact, what impressed me most in this article was that he discussed the music of the film, the violin concerto in fairy tales: the third movement by Czech composer Leo Janacek.

I've always liked Czech music, because Kundera's novels describe the songs and dances of Czech people, the sudden love in songs and dances (in the novel "Joke"), and more importantly, because of volta river by Czech composer Bedrich Smetana, when I suddenly heard it, the amazing feeling was unforgettable, so I started the process of looking around and was lucky to succeed. Some concerts suddenly touch you at some point in your life, just as you don't know that you will suddenly cry when you listen to Sarasate's Song of a Wanderer. Just like Milan Kundera's mysterious "litost": a kind of extreme pain caused by a person's sudden insight into his own tragic experience.

The day after reading the article, I bought the cd of Janacek string quartet on the way to the school gate, which was very wonderful. Later, I saw Li Wan's article "Salute to Yanacek". It seems that there is nothing to complain about that music has put on a secular coat and its expression has begun to be vulgar. Times have created all this.

The film uses the lens of Czech director Jan Niemeck, which is the famous "Prague Spring" when Soviet tanks (1968 August 20th and 2 1) entered the city. At that time, Niemeck was filming a documentary about Prague with Joseph Skvoregi, entitled "Prague Chorus" (1968). The film also uses the photographic materials of man ray and Bill Brandy.

Czech new wave film director Ya Romil Ghiris adapted Milan Kundera's joke in 1968, but unfortunately he didn't get a chance to see it.

Milan Kundera said in Laughter and Forgetting: "The only reason people want to be future masters is to change the past." The terrible thing is that this man is too smart and mean. Like a wizard, he always hits the nail on the head. On TV, channel [V] plays Faye Wong's "Laughing and Forgetting Records" one by one, and it can be seen at a glance that the lyricist probably saw the cover of "Laughing and Forgetting Records" one day. It's almost a complete petty bourgeoisie manual. /kloc-The film Unbearable Lightness in Life, which appeared 0/0 years ago, was only the first sound of vulgarization. Perhaps at this time, no one wants to make it more vulgar, because not many people pay attention to this novel.

Milan Kundera said in Laughter and Forgetting Records, "We write books because our children don't care. We turned to an anonymous world because our wives turned a deaf ear to what we said. "

That year, I traded "living elsewhere" for "unbearable lightness in life", and each of them was heartbroken. Later, the former owner of this book carved a small stone for me as a permanent memorial. Pin it next to a Korean truant with a crooked mouth painted on his red coat. People always ask me: What does it say? Look carefully, and then laugh: unbearable lightness in life? Isn't this interesting?

Then I laughed, too. what can I do? I just think this small stone is in harmony with this child and this dress.

The Unbearable Lightness of Life is produced by Aurimaa Film Company (1988 color).

Director: philip kaufman

Starring: Daniel Day-Louis, Juliette Binoche and lena olin.

It was rated as one of the top ten American movies by 1988 and won the Cannes Film Award.