"The Pianist" has a line: If you like war, it only means that you have not seen the smoke of war.
A two-and-a-half-hour movie, it's full of emotions and tightly paced, as mesmerizing as Hugo's Les Misérables.
Throughout the film, the director controls emotions, and in this extreme restraint in condemnation and criticism of the Nazis, it is an extremely implicit expression of the concept of right and wrong. It was tense, depressing, and painful to look at in one breath.
I think of Naran's "Qinyuan Chun Ding Wei Chongyang Front": Dreams are difficult to stay, poems are not continued, and win a deeper cry. After watching the film, it was quiet in the middle of the night, and I cried bitterly before I was released.
The film's director, Roman Polanski, was born in 1933, a French Jew, and soon after his birth, his family was persecuted by the anti-Semitic wave and moved back to his hometown of Krakow, Poland. After the outbreak of World War II, the Germans quickly occupied Krakow and ordered the expulsion of poles for germans to live in.
Roman Polanski's mother, father, and uncle were captured in concentration camps, his mother died in Auschwitz, his father survived the Mauthausen concentration camp in Austria, and Roman Polanski escaped from the Jewish ghetto of Krakow and survived World War II with the help of a Polish farmer.
A person who has experienced suffering first-hand understands suffering the most. He shot "The Pianist" with a depressing and calm lens, without hatred and revenge, but as much as possible to recreate a piece of history. The pain of his body and mind is very humane.
Beginning in the 1960s, during his fifty-year career as a director, Roman Polanski's films have won numerous awards, and his black film style has long since entered film history. Later, Spielberg asked him to make "Schindler's List", but because of the shadow of childhood, he refused.
But ten years after Schindler's List, Polanski injected his national feelings and personal experiences into the film The Pianist. The film eventually won him the 75th Academy Award for Best Adapted Screenplay and the 55th Cannes Film Festival Palme d'Or, becoming a pinnacle of his later years.
The film is based on the polish pianist Spielmann's autobiographical novel Dead City. Adrian. Brody starred in the film as the Jewish pianist Spielman, and Brody's melancholy and cold appearance fit well with this role, and eventually won the Oscar of the year.
The film tells the story of the Jewish Spruman who escaped many times with the help of friends, and finally regained his freedom, and the experience of nine deaths made people jump all the way to the heart, and it was better to live than to die.
It begins on October 31, 1940, when all 500,000 people entered the walled Jewish quarter. On March 15, 1942, some people were transported to concentration camps, and on August 16, many people were transported on the train without return. On April 19, 1943, the two sides began to exchange fire, during which Valle continued to flee for his life until liberation.
The film begins: Amid the relaxing sound of the piano, there is an explosion outside, and the radio crew flees in a hurry. Forced to stop playing, Spruman meets cellist Dorotta on his way home, a fan of Spruman.
In many places, Jews were restricted to entry, and Jews in Warsaw were required to wear uniform armbands, and if the Nazis did not bow, they were beaten, and they were not allowed to take sidewalks and let them go to the ditches.
The whole film reflects his kindness and the misery as far as the eye can see.
He rescued the children who climbed over the wall hole, he witnessed the disabled old man being thrown downstairs, he witnessed his father buy a piece of sugar for 20 waves, cut it into six petals, and distributed it to his family; he witnessed his relatives being stuffed with a train that never returned; he witnessed the corpses of Jews everywhere, he witnessed hungry refugees lying on the ground eating spilled food; he witnessed a group of co-workers lying in front of his eyes and was killed, he witnessed piles of corpses being burned in the street, he heard friends say that the people transported by the train had no return, and 500,000 people finally left 60,000...
Escaping death several times tells the story of the pianist's journey from weakness to awakening to self-help
People's evaluation of Spruman is: too musical, too famous, no strategy. Because of his fame, he was also able to escape for his life repeatedly.
First Escape: The person who saved him was Spruman's compatriot who had asked him to join him as a policeman for the Germans, but he refused. Spruman and his family lined up to get on the train, but in fact they were pulled to the designated place and killed, and the villagers dragged him out and told him that you were going to die. Spellman watched in despair as a cartload of people left, posing as a worker to help push the cart into a German-administered construction site.
Second escape: Moving bricks at the construction site, Spruman heard the explosion, lost his mind, carried a few stacks of bricks behind him, almost fell off the high platform, the Nazis called him down, Spruman personally saw them kill more than a dozen elderly workers, frightened and hurried to apologize, lying on the ground, the Nazis whipped him to the point of no strength, let the co-workers take him away. A few co-workers cleaned up the mud on his body and said: "He will be killed in this physique in no time." He was given a job to spare.
During this time he was always a weak, forced pianist enslaved.
Third escape: In order to escape from the concentration camp, he asked his co-workers who could go out of the city to contact the cellist and escape from the camp overnight. Dorotta took him home, and her husband, a member of the underground, helped him change his clothes and told him to take the train near the German quarter. He also arranged for someone to answer him, placed him in a room near the concentration camp, and said: This side is better. Spruman said he wasn't sure which side of the wall he was on.
From this time seeing Dorotta, he began to awaken.
Fourth escape: His rescuer is found and asks Spruman to leave quickly. He didn't want to go, and jumped off the building thinking he was found. Accidentally overturned the plate, was overheard by the neighbors, a woman knocked on the door, to call the police to arrest him, he fled in a hurry. Found the emergency shelter recommended by a friend, it turned out to be the cellist Dorota's house, her husband found a place for him and found someone to take care of him.
Fifth escape: two weeks without food, Sprullman suffered severe jaundice, enlarged liver, inflammation of the gallbladder, and by the time Dorotta saw him, he was already dying. He brought in a pediatrician to save his life.
Sixth escape: The Germans surrounded the entire building, Spruman's door had been locked and could not escape, the cannon blew up several large holes in the building, the whole building was about to collapse, the Germans searched the room, Spruman climbed onto the tiles of the roof outside the window, and the Nazis outside the building shot at him and almost hit him.
Seventh escape: He fled to the street, saw the corpses on the street in pain, just in time for the Nazi army to pass by, taking advantage of the night, he quickly fell down and pretended to die, escaping the disaster.
The eighth escape: He climbed over the wall and went out to no man's land, the whole street was broken and ruined, and he looked like a crucified Jesus. Climbing into the building to find a bucket of canned goods, before it could be opened was discovered by a German officer. He said he was a pianist, and the German officer led him downstairs to play the piano, and then gave him food and coats.
Ninth escape: The Germans retreat, Spruman runs into the street in a German coat, and the Poles shoot him, thinking he is German. He cried out for help: I'm Polish. The other side asked: Why wear a German coat? Valle cried: I'm cold.
After watching the film, many people on the bullet screen said: If I hadn't lived long ago, it would have been much harder to live than to die...
Spruman was weak at first, beaten by the Nazi foreman in order to survive, and begged for an apology. Later, his co-workers began to let him receive potatoes, and incidentally hid pistols for the underground organization, but he only did this passively.
When I went to Dorota's house, I heard for the first time that the Jews were going to fight, and he said: Why fight, what good is it to fight? Dorotta said: You can die with dignity. He said, "I should fight them inside."
Later, his friends all left, choosing to escape on his own, and by the time he faced the German officers, from being frightened and trembling, to talking about piano music in awe, he had become a revolutionary fighter completely.
The Pianist, a film about the conditions of Jews in Poland's Ghetto under Nazi rule. It is not only a recollection of the past of suffering and brutality, but also a soul's question of the humility and weakness of the Jewish nation:
"If you sting us, how can we not bleed?" If you amuse us, how can we not laugh? If you poison us, how can we not die? If you have wronged us, how can we not retaliate? ”
This is a Jewish recitation in the Jewish Quarter, from Shakespeare's Merchant of Venice.
"The Pianist" Opening: Polish Radio Recording Studio, a piano, played gracefully by Jewish pianist Spruman, until the German Nazi gun bombing of Polish radio, he was still intoxicated with playing.
The entire film has since rendered the bloodiness of Germany, and they have ruthlessly slaughtered the Jews, and the scene is as poignant as the most famous "Schindler's List" directed by Spielberg.
Polanski selected three nocturnes from many of Chopin's works, two narrative pieces, a round dance, a prelude, two mazurka and the piano at the end of the film and the band's Grande Polonaise, each capital selected just right, and the structure of the film, the transformation of the plot and scenes, and the mood of the protagonist.
At the beginning of the film, the pianist records Chopin's Serenade in C minor in the studio. A calm and soothing beginning, a wide tone of sorrow, heralded the imminent end of the lives of millions of Jews.
Polanski's use here is entirely historical: on September 23, 1939, just as the pianist Spielmann was recording Chopin's Nocturne in C minor in the recording studio in Warsaw, Nazi bombs fell mercilessly.
When the pianist noticed that a German had returned, he hid in the attic with the can. At this time, the piano of the first movement of Beethoven's "Moonlight Sonata" was faintly floating downstairs, and the German officer played this music coldly and resentfully, full of human feelings, full of pity and helplessness.
When the officer learned that the thin and helpless Jew in front of him was a pianist, he asked him to play something. He chose to play Chopin's Narrative One in G minor. It was a righteous and awe-inspiring choice to express his resistance to the persecutors at the last moment of his life.
The German officer said to Spielman: "Thank God, not me, he wants us to survive and that's what we have to believe."
Music is a bridge, a transcendental Esperanto. It conveys human emotions and voices, and it bears suffering and the future.
Whether it is "Schindler's List" or "The Pianist", they all contain great sorrow in the soothing melody, the pain in this repression, the fear and despair in the depths of the soul, and the only light that crosses the hopelessness, waiting for the only hope in the cold and bitter world.
War can best torture human nature and expose human nature. The Nazi officers in this film rescue the pianists, as the Schindler's List says: Whoever saves a life saves the whole world.
A person's good or bad has nothing to do with what party he joins, but with what environment he is in and what education he receives.
Not only did Schindler himself save 1,100 Jews, but he was heartbroken to hear That Captain Goethe kill 25 Jews in one fell swoop.
After a night party, Schindler had a few conversations with a drunken Goethe, saying, "Killing is not power, right is that you have enough reason to kill a person, but instead of killing, you forgive." Goethe then pardoned several Jews.
At the end of the war, Schindler wept bitterly, and he said to Stan: I may be able to take more people out of Poland, maybe I can bring more... I just had to make more money, I was too profligate.
Schindler pointed to his car and said: This car can be exchanged for the lives of ten people, what am I going to do? He took out the collar needle: this collar needle, two people, made of gold, two people... He cried out loud and, like a child, as the workers stepped forward to hug Schindler.
In the movie "Franz", Franz is reluctant to participate in the war, the war starts, he does not shoot in the face of the enemy, and even the bullets are not loaded.
His father said: "We are all celebrating the killing of other people's children."
The victors of wars are not worth celebrating, and wars should not happen.
Lao Tzu once said in the Tao Te Ching: Where the teacher is, thorns are born; after the army, there will be a fierce year.
War is a thing that will eventually be a disaster for the common people. After the end of a war, both the winner and the loser are bound to go through years of pain.
Never believe that suffering is worth it, that suffering is suffering, and that suffering does not lead to success. Suffering is not worth pursuing, and the will is tempered because suffering cannot be avoided.
There is a saying in the Bible, "You will be strong and fearless." You will forget your suffering, that is, to remember it like water that has flowed past. Your days on earth are brighter than noon, and though there is darkness, it is still like morning.
Darkness is gone, and peace is the only peace.
Author's profile: Lin Zhimei, Haoran Growth Contracted Author, Tui Mo Tui Cultural Media Contracted Author. A lone poet, an obsessive whisperer. Write words close to the soul that give you strength and heal your wounds.