Lisbon Story is a film directed by Wim Wenders in 1994, 100 years after the birth of cinema and the year after the death of The Italian film master Federico Fellini, so the praise, speculation and tribute to Federico Fellini became an important theme of the film.
Selected for the "A Kind of Attention" section of the 1995 Cannes Film Festival, Lisbon's Tales is still recognized as Wim Wenders' introductory film and the most entertaining work. In 1994, as part of the Plan for Lisbon as a European Capital of Culture, Wim Wenders was commissioned to produce a film about Lisbon. The film begins with a scenic postcard from the sound recordist Winter with the words "Help", and after Receiving a call for help from the director's friend Friedrich, Winter rushes to Lisbon, Portugal.
The beginning foreshadows the tone of the whole film, Winter has bad luck along the way, the car continues to have problems, but also temporarily make up for the Portuguese, the panicked picture brings a lot of fun, and finally Friedrich foreshadows the evasive mentality of the film - the filmmaker can run to the end of the world for the movie because of a distress postcard, and the filmmaker is afraid that the magic of the movie is no longer confused.
<h1 class="pgc-h-arrow-right" > is music, movies, and video poems</h1>
When Winter arrived, he found only the unfinished film, but Friedrich disappeared, and he decided to capture various sounds in the city to voice the film. In the process of working in Winter, we can see the most authentic appearance of Lisbon, which is not a tour arranged by a tour group, not a place where people will punch in the Internet, but it is very real and charming.
The subtle sounds of pigeons flapping their wings, people talking, sharpening knives, the ringing of trains – are amplified a lot through microphones and radio bars, and through the sound of a city is the best journey for the recording engineer, and through these sounds, we cross the ocean and visit the summer in Lisbon.
Another extremely important sound element of the film is the Portuguese national treasure orchestra "Choir of Our Lady", which Wim Wenders had heard music to before shooting this film, and wanted to make a film in their city, and must put the orchestra in the film. Their music, born in Lisbon, also records Lisbon, and no one can love Lisbon but not their music, and vice versa. The orchestra brought out the importance of sound and music in the history of cinema, and sang the praises of the city in the love letter "The Story of Lisbon".
<h1 class="pgc-h-arrow-right" > should have been a documentary feature film</h1>
Wim Wenders was commissioned to make a documentary about Lisbon, but it ended up being a feature film that echoed Friedrich's last speculations. When Winter found Friedrich, he found him depressed and collecting junk images with a camera on his back, because he did not want the images to be tarnished by people's perspective, and he hoped that the images would not be watched from the time they were made to completion.
Is "junk image" gentle or evasive? You can record images at any time, so does that liberate the image? Or do you make the image more vulgar? Today, cameras are not just readily available, they can even be attached to cars and helmets, so that they can realistically shoot "landscapes" without us calling them films or works.
A hundred years after the birth of the film, filmmakers who loved the film were shrouded in a deep sense of frustration, and the image seemed to be no longer precious. The children in the film are shooting everywhere with a camera, and the images are recorded and manufactured at any time, but the director feels that the film "used to present the truth and convey the phenomenon" has now been reduced to "selling plots".
<h1 class= "pgc-h-arrow-right" > love for movies is timeless</h1>
Advances in science and technology have led to breakthroughs in film technology, but there are few beautiful films with a rough sense of craftsmanship. Today, people see better quality films through digital restoration, but whenever there is a film screening, fans still flock to it, not only because these films are classics, but also because of the grainy obsolescence that allows us to drift with the long river of movies for a hundred years. Winter's finding of Friedrich through a mute child may represent the revolution of cinema, as well as Friedrich's nostalgia and dedication to the old era, old technology, and more importantly, the obsession with the essence of cinema.
In the film, Friedrich is reluctant to limit the appearance of the film, but he cannot resist the tide of the times, and can only carry the camera to record the city and record the death of the film. Such a filmmaker, you can say that he is stupid, you can also say that he is crazy, but there is no doubt about the love for the film, and the audience is willing to believe that such a filmmaker will definitely make a good work.
In order to regain Friedrich's confidence in the film, Winter told him with his voice that through sound, the film can still show its magic, whether it is collecting sound, or creating sound with various instruments, after the film changes from silent to sound, from black and white to color, from film to digital, we can still look back a hundred years ago, the joy brought by the birth of the film, and the original intention of people to create the film.
"The Story of Lisbon" reminds me of the recent Kurosawa Kiyoshi's film "The End of the Journey, the Beginning of the World", which allowed the undesirable actress to travel to Uzbekistan, so that she could put down and pick up and replay the magic of the camera, while Wim Wenders split in two and ran to Lisbon to play with the "theory of film degeneration", with deep internal forces (sound-picture relationship, old and new images, suspense settings, inheritance to children) four or two pounds, fun and good-looking. Some parts of the film are similar to his later reflections in "Love Summer Whispers", but they are light-hearted and humorous versions.
A must-see for those who love movies. In The Story of Lisbon, there is a waiting-gothic recourse, which is both the "in" and "absence" of the person being sought, and the recourse itself becomes a kind of existence. Then, in the end, this beautiful and profound metaphor is directly connected to the essence of the film. Beautiful, sad and still hopeful about everything....
<h1 class="pgc-h-arrow-right" > inspiration for Chinese cinema</h1>
"The Story of Lisbon" is a commissioned film that can also bring some inspiration to the film industry in China today. At present, many subsidy standards do not lack the following rules: taking the people, events, histories, places, and things of "a certain city" as text stories, shooting proportions in a certain city accounting for more than what percentage of the whole film, or post-production in a certain city, hiring local film and television practitioners, and so on. But of all the subsidized films, how many of them evoke the desire to set off?
For example, in many works filmed in Downtown Shanghai, well-known sightseeing spots such as the Bund, Oriental Pearl Tower, and Nanjing Road Pedestrian Street can always be seen, but many works do not integrate these attractions into the daily life of the people in the play, and even bring out these attractions with plots such as traveling or entertaining foreign friends, making their sightseeing perspectives strong, even if they can let the audience enjoy the cultural and natural scenery, but they cannot be as gripping as "The Story of Lisbon". Through the journey of the sound recordist to collect sounds, we see such a real and rich Lisbon, so do we also have the opportunity to see the real and charming Shanghai through the film?
There are many films with the theme of the city as the shooting theme, such as the City Love series of films, which shoot small stories in Paris, New York, Berlin and other places, bringing out the unique scenery and cultural scenery of the city through the people and things that live in it. Falling in love with a city because of a movie and wanting to visit it yourself is the most important goal of this type of film, and it is also their most successful.
"The Story of Lisbon" is a love letter from Wim Wenders to the film, but also a love letter to the city, which contains a deep affection for the film and Lisbon, and is a long gaze at the history of film and Lisbon in the past century.