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“Late Night Talk with Mother”

  The Czech New Wave’s “terrible child” Jan Nanmanci’s new work “Late Night with Mother” is a Kafkaesque autobiographical film, but it is not a film for “seeing”, but A movie that needs to be felt with the heart.
  The director said that the film was inspired by Kafka’s “To the Father”, which is absolutely true – the film abandoned the traditional expression and narrative methods, and did not follow the chronological order, but passed through Vinolazka Street Every scene in the film, with the director’s thinking jumps, quickly switches through the camera lens, directly unfolding the flow of the protagonist’s consciousness, linking the dreamlike inner life feelings of each segment in the director’s life and historical events, with unique art. Form, special self-experience and late-night dialogue with mother, the film blends realism and absurdity, poetic hints, contrasts, renderings and associations, metaphors with multiple meanings, perfectly expresses the director’s own spiritual emotions and psychological feelings .
  
  A unique approach to cinematography The opening of the
  
  film is exceptionally unique: in pouring rain, cars are driving down Vinolazka Street, the black and white footage wobbles, and a color image of the TV presenter breaks in, and she sings: “They Take him there, down the same old road where he used to wear that rag, that’s every little boy’s song, that’s our corpse song.” The photos are superimposed on the screen. Then, when the lens is turned, the first spherical convex lens appears. In the circular picture, all the scenes are distorted and deformed. Moreover, such a circular convex lens accompanies every new building, Every new scene appears frequently in the film, which is both absurd and full of symbolism. Maybe the old streets have changed and changed with time? Then the mother’s narration begins: Jan, my dear child, the last time we met was at my funeral…
  There is no dialogue in the whole film, only a narration-Vinorazka Street, the road from birth to death : National museum, radio station, church, Orsani cemetery, crematorium…Mother’s narration, Jan’s narration, letters, diaries and subtitles, through these narrations, the various fragments of the director’s life course are organically linked together, throughout the whole The film always communicates with the mother through pictures and narration. This is a distinctive feature of the film.
  Another distinctive feature of the film is the ubiquitous symbolism, black and white photos, date stamps on passports, letters, mother’s photo frames, the letter E on the hospital vision checklist, spiral staircases, fallen tombstones, etc. , the director has given multiple symbolic meanings. The first time the letter E appeared in the hospital, Young’s family stood happily under the letter, the letters were flying, Young was “legally” deported from the country, and it was also composed of a series of symbols, passport, Woody Herman, Solomon El Saenz, Miles Davis, Eric Clapton, California’s sunny beaches, surf, bikinis, and carrying a picture of his mother make up his entire 20-year life in America, just as Young The narration said: “In California, you woke up from your sleeping bag, only to find that those 20 years slipped away at the same time.” In the sound and light, the director expressed his views on American culture with a sarcastic language: “Rock and Roll Singers are those who don’t wash their hands after going to the toilet, and their trousers are still stained with poop.” On the seaside, he thought of the poet’s poem “Ocean, I feel sad for you!” The longing for the motherland over the sea is vivid in his mind, And Yang’s raised letter E, like a signal to command the plane to take off, heralds Yang’s return. Another important symbol is the picture frame with his mother embedded in it, which appears in almost every scene, from the beach in California to the The piano being tuned by a blind tuner is ubiquitous, and the silver spoon given to the son by the mother plays a similar role, implying that the influence of the mother is always at work no matter where the son is; and When Yang finally walked to his mother’s cemetery, the road in the convex mirror showed the circle of the earth, and the patterns on the road were clearly the latitude and longitude lines on the map, symbolizing the understanding and dialogue between the two poles of the earth. The crowd was divided into two in the lens. There seems to be a welcome reconciliation between the separated mother and son.
  What’s even more wonderful is that the director’s skillful use of stream-of-consciousness techniques and making full use of the narrator’s subconscious and subconscious skills are really brilliant. When the mother talked about Yang’s frailty as a child, the subconscious picture of Yang being taken away by plainclothes matched the picture. When Yang went abroad for a medical examination, what appeared on the screen at the same time was a picture of his good friend’s head being sawed open by a hacksaw, his scalp being peeled off, and his brain being taken out and placed in a basin with bloody images. These subconscious thoughts regarded a mother as a son. concerns are unmistakably exposed.
  The director’s effortless effort is really impressive. He did not directly express the suffering of the Czech people for decades, but the historical photos are intertwined, superimposed and frozen, which is shocking. Nazi photos, photos of the Soviet invasion, the ruins of the streets, the re-named Vinorazka Street, the fallen corpses, the distorted and distorted footage frame after frame, deeply engraved the suffering of the nation in every scene. in the memory of an audience. The final scene of the film is a statue of St. Wenceslas riding a horse, the horse running away from both sides in the convex mirror, as my mother said: this horse is roaring for our fate.
  
  under the indifferent exterior
  
  ”My good friend Llandak asked what was going on, I told him I got a visa to leave the country, and then Llandak asked: What about your dad? I told him: He’s going to the hot springs again , he’s dying, what can a hot spring do for him? When my dad was gone, Landak asked, I said: It takes 45 minutes to get to Wilson Station. Landak said: Then we’ll go see him I just suggested we have a drink and it was raining and I said I was tired of it all, and to my father too, Landak insisted: Let’s go see him. I said: It’s raining now. He said: That So what, we just went with an umbrella, he stole an umbrella, we ran to the station, found the train to Maria Spa, and I blew the signal for our home whistled and then dad looked out the window and Llandak asked my dad to come down and talk to us and we talked until the conductor blew his whistle and my dad was back on the train and Llandak and I stood under the umbrella and the train Going down the tunnel, driving down Venorazka Street, Dad gave us a sign of victory, Landak put away his umbrella, and said, “Man, you just… saw your father for the last time!” “This is a narration of the director about his father. The icy tone of this passage does not seem to be talking about his own father. The way of narration is like “by the way”, but this kind of detached, short sentence makes mediocrity seem terrifying and terrifying. It appears mediocre, and can arouse the audience’s rationality, so as to think about the problems existing in social reality. This is a typical Kafka-style language expression. My mother had a similar narration: You didn’t come to see me when I died, I was in a coma at the Vinoladi hospital, and you were at a party in a nearby place, and I was unconscious anyway, Even if you were by my side, I would never have known. Look! The indifferent tone seems to be the same, but don’t be deceived by the director’s indifferent appearance. Through these indifferent appearances and deeper analysis, we know that the real situation is completely different. After my father died, my friends did not tell him, Because everyone knows that even at the risk of losing his visa and never being able to go abroad, Yang will rush home to attend his father’s funeral, and the photos of Yang being with him from the beginning to the end of the film show Yang’s love for his mother from the bottom of his heart. . Such expressions are closely related to the absurd traditions peculiar to Czech literature and Czech cinema. This tradition, which has continued since Kafka a hundred years ago, can be seen in Hasek’s “The Good Soldier”, from Kundera’s , Krima’s novels can be seen, in the great Czech literature, the absurd has an extraordinary power of transcendence, only from the human
  
  The
  
  fear At one time, the mother first started talking about her son’s first wife, Esther, and asked her meanly how many children she had to be raised by her son. Then she talked bitterly about her son’s drinking. In a series of “you should, you After that, he talked about the benefits and methods of psychiatrist’s treatment from the harm of alcohol, and then gave an example of quitting sleeping pills by himself, and the lesson of grandfather who drowned in the pool after drinking alcohol. There is no end to it, and the background matches the picture of the son going up and down, going down and up again on the high spiral staircase, which is exquisite. This is not over yet. The mother carefully analyzes the psychological reasons for her son’s drinking. Although the reasons are so ridiculous, it is not enough. She also needs to cite the fact that she used to drink alcohol, and express that she knows the situation of drinking and quitting drinking. This lesson is simply a lesson. A lengthy lullaby, followed by a dissatisfaction with the director’s second wife, “She looks like a dumb goose with opposite eyes!” She didn’t even go to her son’s wedding, which was hosted by The host of the son’s first wife, it was precisely this “Stupid Goose” who filmed “Report and Guests at the Party” with Nan Manqi, which won many international awards; for his son’s third girlfriend, she said The “spoon girl” compares the son’s view of his girlfriends to the Ruthenian mother’s view of her children: “If they die, they will die, and we will just have another one.” The language is extremely sharp and ruthless. In the eyes of the mother, the son will never grow up, and he must design the whole of the son’s life. Even the nursery rhymes that he sang when he was a child sounded disgusting and shameful to the mother. As the mother said in the narration: we do not know each other.

  At the same time, the picture in the son’s mind is: Soviet tanks enter the streets of Prague, the “Prague Spring” protests, and the date is clearly marked on the picture: August 21, 1968! In the son’s mind there are pictures that are frozen, of desperately sticking his head to the barbed iron fence on the tall building, of bloody daggers and newspapers, of dragging the corpse of a good friend to the hospital… The separation between mother and son is evident. The trauma caused by the Soviet invasion to her son was beyond the mother’s understanding. When his camera assistant was injured by a stray bullet and the son took the film home and asked his parents what to do, they replied: “There is no Any value.” This may be the real reason for the emotional estrangement, as Kafka wrote to his father: “You have worked hard all your life, sacrificed everything for your children, and especially for me, so that I can live the ‘luxury’ Indulgent life. You ask us to at least be close, and I have always avoided you, buried in books, and mingled with crazy friends; I have never had a heart-to-heart conversation with you. But I don’t mean, simply because of It would be an exaggeration to say that you have influenced me to become what I am today. I would be very lucky to have someone like you as my friend, my boss, my uncle, and even my father-in-law. But you are the father… …” This is exactly how the director feels.
  But a mother’s love for her son is eternal. For the frail and sick child, she secretly donated her own blood to him. In order to save her son, who claimed to be insane for evading military service, she knelt down in front of the colonel and begged him not to Give him electroshock therapy, though if it weren’t for his mother’s narration, I’m afraid no one would ever know.
  
  The revival of the new wave of Czech cinema
  
  Czech cinema is a wonderful flower of world cinema. There has never been a film in any place like Czech cinema, with so much extraordinary wisdom, bizarre imagination and sharp banter, in a sense , the Czech New Wave went further and more thoroughly. From the late 1950s to 1968, Czech cinema entered the peak stage of development, a group of talented and exploratory filmmakers emerged, and the “new wave of Czech cinema” was born.
  The Czech “New Wave” is characterized by: openly or implicitly criticizing Stalin’s “personality cult”, pursuing realism and authenticity in film aesthetics, pursuing a humorous, caricature and even grotesque style in art, preferring the use of metaphors And metaphors, every shot of the film here is full of human understanding, care for life, life, and the whole world. They expose various phenomena in society, and describe the real world that they see with their eyes and feel with their hearts in a mean and humorous tone, which has high social and artistic value. Known as the standard-bearer of the Czech film New Wave, Jan Nanmanci was also a bold experimenter in his school days. His debut novel, the story of two children who escaped from Nazi death camps during World War II, “Diamonds in the Night”, gave people Impressed, the film is a brutal reality story, but in the hands of Yang Nanmanche it turns into a thrilling journey through the subjective experiences of the two boys, awakened through a series of fantasies and nightmares Despair and pain in their hearts, the film won many international awards and laid the foundation for Yang Nanmanche’s next film, “Report and Guests at the Party”. “Report” uses a realist approach that is completely opposed to Milos Foreman, with a highly stylized look with original sin, describing a story about the interaction between people and the ideological compromise of the ruling class. The Kafkaesque allegory, perhaps the most politically dangerous film of the New Wave, was of course immediately banned and publicly rebuked by censors. Like Sitilova’s “Daisy,” the “Report” became a pretext for denouncing the Czech “New Wave” at the Czech State Rally in May 1967. After the Soviet invasion of Czechoslovakia, Jan Nanmanci’s name was “topped” on the blacklist and was forced to leave his homeland until he returned to the Czech Republic in 1989 to continue his film career and into the 1990s, Zedanek. Sverak and Jan Sverak, Yang.

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