Blue symbolizes freedom. Julie lost her family and her obligations at the same time. She has a good life, no responsibility, and unlimited possibilities for fresh love. Of course, such Julie is completely free, but Khiesz Lovsky shows us the bondage brought by this freedom. He is not talking about freedom, but the lack of freedom: Julie is trapped by her past feelings and memories, and everything she does is idle. She refused to go to the cemetery, to look at old photos, to throw away the music left by her dead husband, to know the news of her dead husband, and even to cry. Mother-in-law hugged her and cried bitterly. Julie asked her why she was crying like this, and she said, because you don't cry.
"In a sense, Julie is in a static state. She has been waiting, waiting for a change. She is extremely fragile-because she decided to do so-so in a sense, the film has to follow her, follow her lifestyle and her behavior. "
White stands for another beautiful and magical word: equality. In this film, Khiesz Lovsky tells a story about the inequality of individual status in love, but this is to question the necessity of equality for purely emotional relationships. Just as Chihuahua's advertising slogan is extremely arrogant but extremely real, people are born unequal. This is another terrible fact that I dare not face. Carol was abandoned by his wife because of impotence, and his love for her humiliated him. Accidentally made a fortune, not only the sexual ability recovered, but also the wife's love followed. Love seems to be based on the balance between wealth and physical conditions. Once out of balance, love will become a heavy disaster.
The red theme is fraternity. Valentine, like the legendary angel, is beautiful and kind, thinking of others. However, "she always considers others from her own perspective." A car accident led her to meet an eccentric old judge who had been sitting in the house eavesdropping on the phone. The extreme behavior view of the old judge is undoubtedly an impact on the principle of love that Valentine has always adhered to all his life. Philosophers are a little worried, and so is Khiesz Lovsky. He was troubled by a question: "We have something to give ourselves. There is something beautiful in this fact, but if we give it to give ourselves a better evaluation, then this beauty is flawed." Is this beauty pure? Still a little ruined? " Valentine is undoubtedly the embodiment of this kind of beauty full of contradictions and uncertainties, and she has condensed the doubts and hopes of Chiye Shlov. Finally, Valentine gradually understood the old judge. Encouraged by his love, the old judge decided to report himself.
Freedom, equality and fraternity are the ideologies of modern free society. Philosopher Liu Xiaofeng said that Shiis Lovsky "looked at the damaged personal moral feelings in modern society with eyes loyal to individual destiny", and his narrative thought "closely stared at the relationship between the existence of individual life and morality, which is the basic problem of modernity". However, the film's discussion of this issue is based on the opposite of these three. It can be said that what he discussed was the lack of these three attractive words in real life and the possibility of their existence.
Light and shadow are always like water. Julie always hides in the blue swimming pool when she is injured, letting the water drown her body and soul. I can't abandon my memory. So you can't be free.
Because the music has been ringing, the music is ringing, the memory is reborn, the picture instantly becomes silent and dark, and time is still. Only the music kept playing and finally became a grand chorus. Everyone lives his life in the flow of notes, smiling or missing, making love or dying quietly. Everyone's life has become a part of Julie's life, and Julie's tears can finally flow quietly. Nothing Julie has done before can achieve freedom, nor can it be live high's inner voice. All you can do is accept life itself. Is love a prison or freedom? This is the question that Shiis Lovsky asked us in the solemn and great music at the end of the film.
In White, Shiis Lovsky tells a story about equality, but equality is not the real theme. This is a story about equality and revenge. He believes that we should pursue equality, but we should understand that equality will never be fully realized. Goethe said that personality determines fate, and what does personality determine? A person's living environment and his living situation since childhood. How can these be equated with the products on the assembly line? Everyone is probably born with their own destiny: different physiology and different living environment. Just like the computer was installed with different operating systems, the body that should have no difference was inserted into different souls by social ethics. What's more, under the influence of political and economic factors, fragile emotions are more like a boat in a storm, which may capsize at any time. In White, the dignity of an individual in love has nothing to do with love at all, but something other than love, such as sexual ability and money. The sense of humiliation caused by inequality is the true face of love. Unequal love, or unequal love, is eternal equality-all people, all love. What Khiesz Lovsky wants to say is not the importance of equality, but that inequality cannot be changed.
Khiesz Lovsky said that the real theme of Red is "Do people sometimes live in the wrong times?" "Is it possible for us to correct the mistakes made by God?" What is suitable for others, is to let him fall into the abyss of death according to his own will, or to save him at the expense of giving up his choice and succumbing to the will of others? No one can be that God, thinking and making choices for others. Is it blasphemy to change others on the basis of what the public thinks is just? Khiesz Lovsky's pessimism stopped here for a while, and he gave Red a hopeful ending, expressing his firm belief in human nature in addition to his deep thinking and doubts about the human spiritual world.
"In countless actions such as dialing, inserting and pressing, the invention of the photographer pressing the shutter is particularly fruitful. Touching the shutter with your finger can permanently fix the event. The camera gives people an instant retrospective shock. This tactile experience is combined with visual experience, just like newspaper advertisements or traffic in big cities. Walking through it will bring a series of panic and collision to individuals. At a dangerous intersection, a series of nerves will rush through the body like an electric shock. Baudelaire said that a person who dives into a crowd is like diving into a battery. Soon, in order to describe the trembling experience, he called this man "a kaleidoscope equipped with consciousness." When a woman (Ellen? When the "passers-by" on the slope are still looking around aimlessly, today's pedestrians have to do the same in order to obey the traffic instructions. Therefore, technology forces people's sensory centers to accept a complex training. I don't know when the film was born because of the urgent need for new excitement. In movies, the feeling of trembling has become an effective formal principle. What determines the production rhythm on the assembly line conveyor belt is the basis for the official film. "
Benjamin's words can help us better understand the aesthetic characteristics of Khiesz Lovsky's films, which look unremarkable. In Khiesz Lovsky's films, the main narrative is not the story, but the "shock" caused by the collision between the inner world and the outer world of the characters. This is particularly prominent in blue.
The blue light shines on Julie's face, and there is a terrible melancholy. Baudelaire said that melancholy is beauty. The blue light shines on Julie's face, just like the lollipop paper dancing in the hands of a little girl before she dies, shining in the wind. Shen Congwen said cruelty is a kind of beauty. This beautiful cruel light turned into a heavy shadow, which made Julie unable to get rid of the past. The blue light that appears many times in movies often suddenly shines on Julie's face. This abrupt shaking light symbolizes Julie's inner emotional trembling. Freedom. Where is freedom? Freedom, freedom is synonymous with nothing to lose.
In addition, the reflection of glass and glass has become an important metaphor among the three colors. Countless glasses, reflections between glasses, this fragile and strong transparent and insurmountable substance, just like the distance between everyone's heart and others in the film. The characteristics of glass are a mixture of fragility and hardness, which appropriately reveals the sensitive and contradictory hearts of characters. The perfect combination of metaphorical expression of characters' inner feelings and technical techniques ensures the "trembling" degree of "trembling perception" and gives the audience a spiritual impact.
"These three films are all about people who have a certain perception or feeling, and some attractive people." In fact, many films of Khiesz Lovsky are based on this perception or feeling, and "trembling perception" can be said to be the value of the whole Khiesz Lovsky film. This peculiar perception is not only the performance content of the film, but also the basis of emotional induction and transmission between the film and the audience. For example, in The Double Life of Veronica, Veronica coexists with Veronica in reality in the mirror reflected by mirrors, windows, doors and cars. The characters in the film are dominated by a strange telepathy, while light and shadow contradict each other. In the golden warm tone, the most secret part of our hearts is also surrounded by a familiar and unfamiliar sadness and warmth, as well as that fresh and tender trembling feeling.
This "trembling feeling" exists in the hearts of movie characters, as well as between the audience and movie characters, which becomes the ultimate key to complete its expression in Chekhovsky's movies. In other words, Khiesz Lovsky chose the smallest and most sensitive emotional sample that exists in each of our lives and thoughts. When we are moved by the characters in the movie, that is, when we feel the pleasure of * * *, we are actually moved by ourselves. Because of this, Liu Xiaofeng described that when Lofsky died in Shiis, he felt "lonely in this world". Khiesz Lovsky is like an indispensable life partner in our ideological world. His films stick to the lonely soul of each of us in this world, and the light and shadow make us feel a little tiny but scorching warmth reaching the depths of our souls. There is no doubt that Tri-color is an outstanding representative of humanistic care in his many works.