About the World War II theme movies watched too much, it is inevitable to feel depressed, but the things that have happened, can not always be because of the prosperity of the choice to forget, so, we use the way of images, indirectly began to present the most cruel past, little by little, but at the moment, because of the mixing of commercial interests, the war originally used for reflection, invisibly became a tool to win profit income, and finally, in the form of oblivion, the reflection of the war was buried by hand, and the reflection of the war could have been chosen to be closest to human nature. But it has become a contrary presentation.
Domestic World War II movies, mostly with war scenes, such as "Jinling Thirteen Chao", and with blood to bring straightforward sensory stimulation, such as "Nanjing Nanjing", I admit that this cruelty, indeed, can play a deterrent role, but it is difficult to further bring about the deep understanding of emotional resonance, if you never put the people in the war and human nature in the first place, but push the cruelty and blood to the front, replace the core with the skin, the inversion of the horse can not produce a thought-provoking and continuous fermentation of the classic.
Once, I introduced the Polish film "The Pianist", the desperate psychological shock, stemming from the personal overwhelm in the background of war, and the fragile human nature, always hovering between civilization and barbarism, but I think that the most thorough washing from the inside out is probably the whole process from giving you hope to finally presenting you with despair, and the movie "The Boy in the Striped Pajamas" is like this.
This film released in 2008 is somewhat similar to "Schindler's List" in terms of character selection, because the angle it chooses is the Germany that provoked the war, but, personally, "The Boy in the Striped Pajamas" is slightly better, because the character it chooses is an eight-year-old boy who is not deeply involved in the world, and its core is not redemption, but destruction.
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The movie "The Boy in the Striped Pajamas" has a good perspective of observation, that is, the child in the war, the child's perspective can actually be equated with the perspective of God, because, without any value orientation restrictions, the things presented are often the most real side, the child looks at things, never with any critical color, so this movie allows us to see the whole process of the destruction of ideals and beauty, as well as the human nature that is deeply rooted in the soil of reality.
In order to be able to dig deep into the original sin of the war, the director put the story angle on the side of Nazi Germany, in order to get rid of the interference of the subjective elements of adults, with the growth of a German child Bruno, leading to the most cruel truth of the war, the focus of the film wanders between adults and children, and uses the innocence of children and the hypocrisy of adults as a contrast, thus completing the return from beautiful ideal construction to cruel reality.
Eight-year-old Bruno never knew what war meant, and from the beginning of the film, bruno and his partner were used to learn the route of the plane running on the street with open arms, which led to the tension of the soldiers catching people, and returning to the room to see the scene of the move also led to the plot direction of the story.
The luxurious house has bright colors, and this is the holy land of Bruno and his companions' adventure fantasies, so this house is actually, from another point of view, the last position where Bruno's beautiful ideals have not been eroded.
However, because of the promotion of the soldier's father, Bruno had to leave here, leave his partner, and move to the suburbs to live, and this move, in fact, also swallowed Bruno's naïve dreams little by little, because although the suburban houses are also very large, they are surrounded by high walls, blocked by iron doors, guarded by soldiers, and the colors are also dark gray, and the vitality of the previous houses has long been lost, and the changes in the houses here are completely in line with the direction after the plot, and it is also the beginning of the cruel reality.
As a World War II movie, "The Boy in the Striped Pajamas" actually does not have any war scenes, and almost all of its focus is gathered in bruno's back and forth between his house and the concentration camp, of course, interspersed with the father and mother from love to estrangement, the collision between grandma and father, the change of father's personality and the change of sister's personality.
This tearing apart of a complete family because of the war is not shown through the most intense dramatic conflict, but more like a life documentary, using Bruno's innocent eyes as a lens, watching, observing, but not from the moral height to comment, the film seems to deliberately avoid discussion with strong critical overtones.
Because Bruno has always lived in his dreams and is also wrapped in the lies of adults, he has not shown much reflection on the war, but as an audience, because of the history that has long been familiar with the textbooks, and the cruel war has swallowed Bruno's innocence little by little, there is a huge psychological impact and profound reflection off the screen.
In this kind of film, the treatment of reflection blanks is actually to be able to completely vent on the audience.
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The German child Bruno, the Jewish child Sha Twilight, the two in the wartime originally opposed identities, but in the film to complete the harmonious coexistence, the use of the cruel reality of the barbed wire, separated by two children with ideal colors, they stand in the child's point of view to talk about the war, Bruno thinks this is a game, envy the concentration camp on the other side of the Sha Twilight, and Sha Twilight is envious of Bruno's family that can eat enough, they talk about the world, sometimes silent, when the bright sun hits them, as a moviegoer, I even forgot it was a war movie.
In their eyes, war has never had a specific concept, and the most successful point of the film is that the innocence that is originally incompatible with war is infinitely magnified through the lens language, weakening the war is not to beautify the war, on the contrary, through this heartbreaking contrast, it is the most empathetic to produce deep reflection, because the original sin of the war is to bury countless ideals and innocence, using hypocrisy and deception to satisfy the original selfish desires, therefore, The director lets us see as much of the human brilliance that still exists in the war, and through this, let us know in reverse how shameful the war is.
"If you like it, you can come to Berlin to see me, and when we are all reconciled." This is the agreement between Bruno and Shahide, in fact, when the film is three-quarters of the way through, it has always given people the illusion from the beginning that this Jewish child will not die, because no one wants to lose beautiful things, but the film uses this trap of packaging good, and at the end of the film, it brings the audience extreme disappointment, even despair.
Bruno had dug a hole in the barbed wire, and in his eyes it was the beginning of an expedition, but, unexpectedly, it would be the last time he and Twilight had met, and in the closed door, waiting for them was the arrival of death.
At the end of the film, the focus of the camera is on the iron door, slowly moving backwards, the color of the picture is dark black, implying that the ideal is finally buried by the cruel reality, although the director does not directly show the picture of the two children's corpses, but with this restrained lens, let us feel a kind of coolness that runs through the whole body.
In the whole movie, everyone is a victim, and the mother, who knows the truth but has not been exposed for a long time, can only try her best to restrain the emotions of the collapse; for the German officers who are loyal to the Nazis, although they finally made a compromise to let the child leave this place for the sake of the family, they still failed to prevent the tragedy; the sister who has always indulged in the dream of joining the army, although she finally has a hint of retreat, but does not have a dislike for the war in her heart, when all the people around Bruno are suffering the invisible damage of the war, Bruno became the ultimate flashpoint.
The story that was originally in a calm main tone from beginning to end, in the rainy day of Bruno's death, completely broke out, everyone began to be overwhelmed, the film here, in fact, has laid the previously laid out emotions, completely expressed, at the same time, also for the core of the story to give a positive reflection.
There is no win-win in war, only accumulated deception, Bruno represents a beautiful ideal, but the ideal full of lies, like Bruno, who is trapped, when he finally jumps out of the circle that is obscured by the truth, he is greeted only by death, because human nature in war has always been in a state of gradual numbness, and in the end, man has become a beast, but he does not know.
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"The Boy in the Striped Pajamas" is adapted from the novel of the same name by Irish writer John Bourne, but when the film was filmed, it omitted a lot of children's psychological activity descriptions, but used the performance of the people around him as a foil to highlight Bruno's innocence, and it is this innocence that has been maintained until death, so that viewers have a disgust for war in their hearts.
That's why, this movie doesn't have a grand war scene, but it can still gain a super high reputation, using beauty to pierce the ugly, using innocence to counter the hypocrisy, and when all hopes turn into despair at the last moment, the tragedy is a real tragedy.
Without deliberately earning your tears, but always tugging at your heart, making you a follower of the story, and even becoming anyone in the movie who can approach and have the opportunity to tell Bruno the truth, the suppressed emotions can never be released, but they are reluctant to watch the beauty being torn apart, so they can reflect more deeply on the original evils of war.
Looking at the domestic World War II movies, do we lack this kind of profound reflection on the war from a human point of view? In fact, whether beautiful or ugly, the most crucial thing in war is the portrayal of the main body of man, if you can let the human nature in the war dominate, then, even if you don't use that many special effects of war, you can also dissect the evil nature of war.