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导读: 这是一篇美国留学生撰写的essay范文，讨论了电影《大路》。《大路》是费德里科·费里尼的代表作之一，这也是他创作生涯的第一次转折。《大路》不再沿用传统的新现实主义电影外在的表现形式，而是将其表现形式内心化和个人化。《大路》塑造了杰索米亚这一经典的女性形象，通过讲述她人生大路上令人心酸的爱情悲剧，展现了人与人之间爱和沟通的匮乏，也表现了意大利人民真实的生存困境。 Italian director federico balzaretti fellini's film "the road" produced in 1954, the film shaped "jie suo miya" this classic characters. By describing the poignant tragedy of love on the road of life in jesomia and showing her relationship with the other two male protagonists, the director expresses his thoughts on love, communication and the status quo of human existence. 意大利导演费德里科·巴尔扎雷蒂·弗莱蒂尼的电影“之路”于1954年制作，该片改编了“杰索米亚”这一经典人物。 通过描述在jesomia生活道路上的爱情的悲惨悲剧，并展示她与其他两位男性主人公的关系，导演表达了他对爱情，沟通和人类生存现状的看法。 "The road" is federico balzaretti? fellini first book in the trilogy "loneliness", this is the first time that his writing career. He no longer follows the external expression of the traditional new realism film, but internalizes and personalizes its expression. "His most famous image of a fool, the mentally retarded Jeremy in the road, has undergone a change in lifestyle. This is due to the involvement of strong loneliness factors." "The road" for us to create a classic image of the jisomia women. By telling the poignant tragedy of love on the road of her life, she showed the lack of love and communication between people, as well as the real plight of Italian people. In the film, jasomia is a girl as pure and fragile as a child who yearns for true love. The first jessomia is like a carefree child, always attracted by new things. When she was sold to a stray by her mother, she was full of hope. When she had her own little drum for the first time, her big eyes were full of joy, as if she had found the joy of her own life. When she saw the three trumpeters blowing their trumpets, she immediately forgot her sorrow and began to wander in pursuit of joy. She is also weak, sensitive and vulnerable. Like an immature child, she relied on chambre, but she longed to be accepted by him as a normal woman. When chambre showed off to the people in the pub that he was his wife, jasomia was extremely happy. She was also a woman who was faithful to love and longed for a stable and happy life. Guided by mato's spirit, Mesopotamia began to think about her own value, and "soon evolved from a totally ignorant little animal into a man who had a new awareness of love and himself." She suddenly understood the full meaning of love, is with the lover together support together old, henceforth no longer let him alone. Zabel was a father figure to jessomia. In the film, her father is absent. The only thing she could rely on, having left her mother's home, was this seemingly powerful buyer, chabour. Like her father, jacomia relied on chambre, especially after he spent the night with her. Bohemia wanted to have a home, wanted to build a home together with zabel, but zabel, a vulgar person, could never understand jesomian's heart. He is rough, brutish, full of animal desire, lack of spiritual pursuit. He shook his fist at his friend and shouted at jesomia. So mato sneered at him: "the circus needs more animals." Perhaps his insolence, rudeness and indifference were merely a survival instinct, and the hardships of life had made him numb and selfish. Bohemia thought she could save the man, but the man repeatedly refused, especially when the man mistakenly killed jesomia's best friend mato, the man revealed the obscene and ugly, let his originally god-like tall image suddenly collapse. The character of mato plays the role of a "spiritual teacher" to jasomia. When he meets mato, he is attracted by the sad song he is playing, which means the tragedy of mato himself, and also the ending of the tragedy of jacomia. Mato often carrying a pair of angel wings, it seems to director that he is the savior jie suo miya, he fell in love with her, can take her leave rough miscellaneous Boolean, but when mato learned jie suo miya love is miscellaneous Boolean, he chose to compromise, and incentive jie suo miya to pursue love, play their such as "little stone". This is exactly a turning point in the road of life, and it is mato's words that give jesomia the conviction to insist and realize the value of his love. First of all, the film tells the poignant tragedy of love on the road of life in jesomia. It shows the lack of love and communication between people and the lack of spiritual support. The road is a spiritual journey, and the tragedy of love is spiritual disillusionment. Jesomia believes that her love can save her beloved, but she wants to save a man with only primitive instincts, and the rescue has ended in failure. For zabel, it was not until he lost his only love, jesomia, after years of lonely and wandering life, that he realized her importance. However, jesomia died, and it was too late when he began to realize his loneliness and the importance of spiritual pursuit. Secondly, if it rises to a more general level, the road shows the plight of the Italian people at that time through the tragedy of the love of Bohemia. Shot in 1954, postwar Italy has yet to recover. The trauma of the war in Italy was immense. It destroyed people's homes. People are faced with the double poverty of material and spiritual. Behind the love tragedy of jesomia lies a special era, which reflects the general living situation of the people in the special era. Through the creation of the figure of jesomia, the director also pointed out a way out of the survival dilemma -- that is, learn to cherish the people who love you, learn to understand, and learn to communicate. From this point of view, the portrayal of the figure of Bohemia also has a more profound significance. |
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