"Wild Strawberry" is a story about life and redemption directed by the Swedish director Bergman in 1957. Starting from Isaac, the hero of this film, he is going back to accept the honorary degree as a starting point, through the dream of the hero in the journey, His conversations with his daughter-in-law, mother, and young people hitchhiking on the road re-engraved the big events in his life and showed his transformation. There is no lack of ingenuity in this film, and I am willing to take Isaac 's first dream in this film, as well as the most "movie-like" segment of my personal movie viewing experience so far, as the analysis object of this assignment.
It should be particularly pointed out that in addition to the narration of the protagonist who promptly guides the audience to the dream, this paragraph discards all human voices, that is, it discards the artificial prompting interference from the outside world.
The informative narration tells the audience that our protagonist lost his way on the empty street during the morning walk. At this time he heard the sound of a bell ringing, perhaps this is to remind the audience that the picture has a close-up of the protagonist in the foreground and a street with a clock in the background, and the protagonist is going in the direction of the clock.
He turned his back to us and walked vertically into the picture. A strange clock stood on the right side of the figure: it was like a street lamp standing upright, with icons of two big eyes hanging under the clock. We can only hear the footsteps of the characters. The protagonist must have been surprised by this. He walked to the strange clock and found that it had no hands. At this time his heartbeat sounded, instead of his stopped footsteps. So he opened his pocket watch, but he was surprised to find that the pocket watch also had no pointer. At this time his heartbeat continued. After taking off his hat and stroking his brain in confusion, he walked into the shadow of the sun and stood on the street like a street lamp, and leaned against the wall (this is the subconscious behavior of people when they encounter confusion- -Looking for dependents), looked closely at this strange clock without hands, the camera zoomed in on the protagonist, and we saw him turn his head.
At this time, he turned and continued to walk straight towards the original direction. Due to the change of the camera, the position of the character changed from a deep lens to a horizontal lens. After walking slowly for a while, he stopped, hesitated for a while, turned around and walked back quickly, past the strange clock and returned to his original position. At this time, the panorama fade-out was quickly replaced by the close-up of the characters, except for the characters in the picture, the background was all black. We saw him turn his head, and then we saw another street with different buildings. He looked back at the street with weird clocks, and found the back of a man in his costume standing near the clock. He walked towards the back of the man. The editing here appears to be incoherent. The connection between the character's turning head and the next scene shows that the character is not standing in the same position. The latter is shorter than the man's back compared to the former.
He walked into the man and touched the man's left shoulder with his right hand. Perhaps under the joint force of the protagonist's hand and the back man, the man turned around. Note that the close-up of the lens at this time is facing the protagonist, and what we see is his obviously frightened expression, which makes the audience consider the reason why the protagonist was shocked. The next second, the audience saw a man whose facial features wrinkled into dough and concentrated on his face. Here shows the director's brilliance, not only brought suspense to the audience, but also quickly answered the suspense for the audience. Next is the same technique, we see the protagonist's eyes down, his head down, and then we heard a sound, and saw the man fall to the ground. The bell rang again, and the fallen man's body turned into a dark liquid (which can only be seen as black in the black-and-white film). The protagonist looked up, looking for the source of the bell. He walked forward again, toward the direction he had originally planned to go back to because of fear. With the bells, we saw the protagonist once again reached an intersection. He saw two horse-drawn carriages passing by on the corner of the street.
Among the bells and horseshoes, the carriage walked in the opposite direction to the protagonist. The protagonist's eyes followed the carriage. When the carriage passed the street lamp, one side of the wheel was caught by the street lamp and could not move forward. The unmanned horse-drawn carriage did not reverse its direction to avoid the street lights, but kept hitting the street lights until the wheels close to the street lights fell off. The wheel rolled to the protagonist's side, and the protagonist was shocked. The carriage without one side of the wheel lost its balance and was difficult to pull-by squeaking sound. The lens rotates between the protagonist and the carriage details, showing that the protagonist begins to examine the carriage carefully. He saw the angel on the carriage decoration, and the coffin on the carriage. In the creaking sound, the coffin fell off, and the two horse-drawn carriages moved forward quickly-since their function of introducing the coffin had been achieved, it was time to let them exit.
Only the protagonist and the coffin are left in the picture. During the fall from the carriage, the lid of the coffin shook open, revealing the human hand inside. The protagonist walked towards the coffin, the hand inside stiffened to stretch, the protagonist's body shook, we saw the hand in the coffin holding the hand to the protagonist holding the coffin ... he saw that the people in the coffin looked like themselves It's exactly the same! (Background sounds more rapid) He wants to break free, he wants to escape, the camera rotates in close-ups of his face in him and the coffin, the closer the camera gets, the closer it gets ... At this time, he wakes up, confused Eyes are facing the camera. Get up immediately and can't wait to go back home.
Such a strange dream was arranged by the director at the beginning of the whole story. It is undoubtedly the revelation of the life as the protagonist of the confession. The clock without pointers, the man who touches away, the man in the coffin with the same face as him, the background is constantly The death knell that sounded all indicated that he was scared of his absence. It was this kind of fear that prompted him to recall on the way back to his hometown and produce dreams, and the director also introduced the episode through these clips to show the protagonist's open hearted process by a cold and selfish man.
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