One hundred years later, Holdrin, a tramp who suddenly appeared in front of Mr. Marthinsen, was regarded as the most outstanding poet, philosopher and madman of the German nation. His poems were interpreted as holy books by the great philosopher Heidegger, which made him famous for a time and set off a lot of Holdrin craze. I don't understand poetry and philosophy, I can only say "poetry is dark" in German, and I certainly can't understand Holderlin, but I have read the deeds and works of this crazy poet and philosopher over and over again-just looking at the translated Chinese characters and other people's comments, I don't know if this is serious "reading"-reading too much has given birth to some envy; If you envy more, it will turn into inner worship; After a long worship, I can't help but remember. I can't do anything else I still watch many movies. I think I look at movies like hemp, so I only dare to start with movies. But after searching for a long time, this film about Holderlin has nothing but snow and mud.
So I'm a little depressed. Why doesn't a director make a biography of such a great man? Obviously, I won't be given this "lotus powder" opportunity-philosophy is very abstract, and no producer is willing to invest. A few years ago, a German film called Skan Danelli was shot by Holdrin, but its content belongs to a rigorous historical biography. The charm of Holdrin, which I realized, didn't seem to be reflected in front of the camera.
I am depressed again, so I have to give up the idea of judging Holderlin, or bury myself in my favorite movie world in Takovski and watch Homesickness to drown my sorrows.
Gorchakov followed crazy Dominic's last words and walked through the abandoned pool with a candle in his hand. The candle flickered but didn't go out. Gorchakov can't afford to fall to the ground ... It's the familiar ending again. Haha, Dominic, a madman, really had a fight with Holderlin.
Holderlin? !
Yes, Holderlin.
Suddenly, it dawned on me that the figure of Holderlin has been shuttling in Taishan movies for twenty years, but I, a layman, was all thumbs and never recognized it.
Master Ta has made a film of the story of the Dutch poet, but the narrative way is tortuous and euphemistic. If the straightforward film image can be called "image", then the image of Holderlin in the works of master Ta can be called "hidden image".
In history, Holderlin was well-read and talented. It is said that his classmates Hegel and Schelling are far behind him. If he keeps his normal thinking, he can advance the birth time of contemporary philosophy of language by more than 200 years? )。 Moreover, the fate of Holderlin's life is legendary, and the madness in the later period (it is said that he fell in love with a married man) made countless literati bend over. In my opinion, Walking Home by Holdrin 1802 should be regarded as the most metaphysical feat in his life. A few years later, Mr. Liu Xiaofeng, a famous domestic scholar, wrote an article in memory of Holderlin, entitled "The Tragic Return of Hometown" (this article is the foreseeing part of Holderlin's poetic philosophy).
The theme of "homesickness" is nothing more than "returning home". Bound by Gorchakov's inner knot, it's a sad parting for the motherland to say goodbye. The image of hometown and homeland flashes again and again, but its essence is the so-called "spiritual home". Gorchakov obeyed Dominic's seemingly absurd will in order to realize his wish to "go home"-geographically, Gorchakov certainly stayed in Italy, but his soul retired to his home-the spiritual home at the moment when the ambulance roared. In the past, Holderlin said: "People live poetically on the earth" (some scholars think that this statement is attached by later generations, not the original words of Holderlin, so it is doubtful here). This "poetically inhabited" land is the best portrayal of spiritual home.
Dominic's madness, jealousy, and even his final self-immolation are all like prophecies to the world. If Dominic's spontaneous combustion in Rome Square is regarded as a kind of performance art, the meaning of this work of art really reaches the deepest part of human soul.
Dominica has a home, but the world is homeless. After all, the body is limited to the world, not everything. How can I sublimate myself? So Dominic had to burn his body. Mr. Liu Xiaofeng once published a collection of works in the name of "heavy body", and put the word "heavy body" in Dominic's position, which was definitely a bump on the floor.
Dominic must be crazy. In the eyes of ordinary people like us, what the prophet did must be that of a madman (Foucault's Madness and Civilization seems to be evidence), but Dominic couldn't let go of his belief in the salvation of all beings, so he turned into a wisp of smoke and passed away-remembering that Mr. Bao in A Dream of Red Mansions often swears to his sister Lin with "turning into a wisp of smoke", which shows Tarkovsky's intentions.
From the point of view, behind Dominic, the figure of Holderlin stands impressively. Dominic refused to go crazy, so he set himself on fire; And Holderlin is a madman, so he can still live in the world for decades. However, it cannot be said that Holderlin is weaker than Dominica. "What is a poet?" ? Tower's poems have been compiled into a book, and later generations can prove that they draw spiritual energy from it.
Thinking of this, I can't help but have a naive idea: can nostalgia, stealth and sacrifice be regarded as a complete "Takovski Trilogy" series? The plots of the three films seem unrelated, but their connotations are the same. If we start with "the hidden image of Holderlin", we can certainly see it flashing behind Dominic in Homesickness. If we pay a little attention, we can also capture the poet's silence in the Stalker and Sacrifice.
Let's start with "stalker". Among the three protagonists in Sneakers, the guide (sneaker) plays the most important role, and his personality changes most obviously: from the timidity at the beginning of the film to the complete realization at the end of the film, it is no exaggeration to say that he experienced a baptism and sublimation of his soul. And finally brought the black dog home with his wife and daughter from the "forbidden area" (the origin of this dog is quite worthy of textual research. In my opinion, it belongs to the mystical poetics of Mount Tai, so I will not follow the table here, and I will discuss it later). Looking at his cool and calm back, I feel like Gorchakov who has found a spiritual home and fallen safely.
In my opinion, the guide is Gorchakov's past life, and his search for spiritual home is also the pursuit of "poetic dwelling" as Holdrin said. But where is holderling's shadow hidden?
A physicist? I don't think so. In fact, physicists have the thinnest drama points. Compared with writers, they don't even have a decent monologue. Judging from Taishan's usual expression, I'm afraid they even know it.
Without explanation, we can never bear the heavy responsibility of a prophet.
Is that a writer? Takovski made no secret of his love for this image. In fact, after entering the "forbidden zone", the writer suddenly became the protagonist. In that dilapidated shack, he even gave a long Hamlet-style monologue to the camera, telling his inner pain and entanglement.
So, this is actually a conspiracy of Takovski, using the image of a physicist, presumably to show the alienation power of science and technology to people, but those metaphysical pains are accumulated on the writer and not created-until the writer finally broke out in front of the camera. From this point of view, the hidden image of Hodelin in Sneakers is first hidden in the hearts of writers and tour guides, and it is reflected in the "forbidden zone", which is the drifting wind, swaying grass and foggy pond ... In short, the hidden image of Hodelin in Sneakers is a combination of mysterious external natural forces and the inner introspection of the characters.
There is nothing in the "forbidden zone", but there is some transcendental power everywhere. If you look up, you believe that Holdrin's handsome figure will inevitably float across the sky-to paraphrase the lines of Shaolin abbot in The Gourmet, in The Stalker, Holdrin's hidden image is "coming with the wind and going with the wind".
At the end of the film, the guide's little daughter's face is stuck on the wooden table. At this time, the voice of reciting Chutchev's poems sounded, and a glass moved until it was broken ... Of course, we can take it for granted that it was caused by the vibration caused by the passing of the train outside, but I prefer to understand that the little girl also has some prophetic mysterious power at this time (this is also related to Tashesh's mysticism poetics, so I won't go into details here)-in the case of her father, she was hidden by Hodelin.
On this basis, the hidden image of Holderlin is actually vague in The Stalker, which is quite different from the situation in Sacrifice. Sacrifice transcends the complete vagueness of Holdrin's hidden image in "Stalking and Beating" and the complete concreteness in "Homesickness", but the combination of emptiness and reality. The mystery of Otto the postman and Maria the maid reminds us of the power of Moses the prophet and the Virgin Mary. If we understand it from the perspective of enlightening the essence of human existence, it is actually another variant of Holderlin's hidden image. But Alexander's own understanding and his youngest son, who didn't speak until the last scene, are similar to the watermark of Holderlin's hidden image in The Stalker.
Sacrifice is the last work of Mount Tai, and its directing skills are basically completed in a battle. As expected, the theme of this film is the climax of the previous film.
With Ta's biography, Holderlin should rest in peace under the spring.
I don't even know Russian, so it's still light to seriously comment on these two ideological giants in Europe.
However, I want to say that if I feel comfortable, I will not shoot, which has long proved to be empty talk of Taoism.
Besides.