木屐树

几个农民住户一起合住在农场中，他们的生活朴素而单纯，将无法抚养的孩子送到抚养院，一个男孩对女孩的追求（两人终成眷属），不同家庭合力杀了一头猪，将早熟的番茄拿到市场中去卖等等，诸如此类的日常事件无处不在地彰显农场中人们淳朴的关系。它有一个略显悲伤的结尾，一位父亲因为砍掉了农场的一棵树给儿子做木屐鞋而被农场主赶出了这里。画面音乐委婉优美，偶尔的喧闹后必有更深入的宁静。因为人际关系是影片想要展现的主题，所以没有绝对的主角，宗教元素虽没有刻意强调，但在故事中多次出现，而它也的确为农民们的生活带来慰籍与希望。

A Palme d’Or recipient for Italian filmmaker Ermanno Olmi for his humanist depiction of the agrarian life in Bergamo, Lombardy, near the turn of the 20th century, THE TREE OF WOODEN CLOGS, is a 3-hour essayistic pastoral only betrays its political agency in the downbeat coda. Four households living in a farmhouse and their quotidian tenor of lives are peeped through Olmi’s perceptive but dispassionate lens, a pseudo-documentary employing non-actors to uphold the performance as natural as possible (resultantly, reduction of expression is its knock-on effect), perfectly re-enacts a verisimilitude of reality regarding his parents’ generation concretely imprinted in Olmi’s mind. The families are all sharecroppers and don’t own an inch of the land where they are toiling,and receive meager income from the landlord predicated on the productivity. To today’s eyes, the film’s nostalgic atmosphere (copiously purveyed by organistFernando Germani’s lyrical rendering of Bach’s oeuvre), authentic loci and primitive means of life are quite at a remove, but what matters the most (and strikes home) is Olmi’s unqualified benevolence towards his subjects, his utmost reverence to humanity flickering through the successive occurrences at once trivial and vital, temporal and sacred, a high note arrives in the pig-butchering sequence where that poor critter’s wail reverberates in viewer’s head long after its life force is severed, we are forced to see something unsavory on which we are all inclined to turn a blind eye. Piety, is ensconced in the forefront here, the film opens with a scene in church, where a priest persuades an illiterate peasant that his son is smart enough to go to a proper school (at a time when basic education is still a privilege);a widow with six children is granted with a "miracle" when her livestock is given a death warrant from the vet; a pair of newlyweds gets married in the church on an early morning, visits a convent later and brings back to home a foundling, this segment temporarily dislocates us from the parochial milieu and offers a glance of a bigger picture (commotion and conflicts are hinted), however transient it is. But conspicuously the film has less ambition in highlighting human follies, a country fair is presented, an episode of an inane farmer hiding a golden coin inside a horse’s hoof is the closest thing we can get.

A revered ethnographic infotainment permeated with bucolic sublimity, THE TREE OF WOODEN CLOGS - its title referring to the occasion of the harsh punishment received by one of the households in the end, has its own incontrovertible artistic integrity and a rarefied stature matched by few peers, but there is a smattering of monotony and inflexibility is extruded out ofits unyielding aesthetic tenet, which may have done a disservice to itself, not least considering its epic length. referential point: Vojtech Jasný’s ALL MY COMPATRIOTS (1969, 7.9/10)

如果你喜欢历史，这种电影肯定能看的进去，看的历史书肯定没这电影拍的细节，在那个久远的年代所有国家都是一样的，没有电没有工业，泥泞的道路，河边洗衣服，苍蝇到处飞，前几天看毛姆的中国游记，看到当时中国的惨状，文字里很多优越感，有什么可优越的，欧洲一样从战争苦难解放过来的呀。回过来说电影的共鸣之处：1小丑杂技旋转木马动物秀是节日还是集市庙会？我的童年里有这些，每年春节初九期盼庙会到来。2白天撇棒子晚上剥皮在晒干，在用手摇玉米机弄出来玉米粒，在早点是用改锥杵下来。3见过收稻草的，也在稻草堆里打过滚儿，哈哈大队里有马圈，还坐过马车，后来才有的拖拉机。4，小时候家里没暖气就是蜂窝煤了，冬天也是守着炉子烤花生烤玉米烤粉条（最早的膨化食品），也在秋冬之际去梨树地里跟着叔叔还是爸爸捡过树枝，冬天偶尔烧柴用，比如老妈蒸包子烧柴出来的味道就是鲜美，那会一次能吃五个包子，笑死。5单轮推车，这个我家也有，一直有，用处太大了，村里之前没有特定共用垃圾桶，需要推车推到村口特定垃圾堆。6，我家养过鸡，去鸡窝里捡鸡蛋在自然不过，见我老爸杀过一只鸡，也是从脑袋开始。7，我们村集体所有制，替我妈去地里那些镰刀干过活儿，哈哈当然我这从小干活就利索，比他们干的也不慢。8，不同点，我上学放学有邻居有发小，我妈说我，每天哼着歌就回来了。。抱歉，我的童年相对快乐自由美好，有电了，偶尔也点蜡，天天有免费自来水，有吃有喝，老爸有手艺有班上，老妈村里工厂，过年才有新衣服，那会过年真的开心知足，所以看到他们在共鸣的同时，无比的痛苦，15岁就变成了工具人，孩子们太懂事了，为啥我小时候都是跟姐姐弟弟打架呢。里面最动情的属：我宁愿在工厂天天加班多挣点，也要跟我的兄弟姐妹一起生活。

尽管现代社会科技的发展带来了方便，不用做饭，点快餐，农业摆脱了人工，各种行业都有机器生产，牛奶鸡蛋送货上门，飞机几个小时就到另外城市，老师讲课都不黑板写字了，直接PPT~我侄女说，老师懒得多写一个字，艾玛，我小学可是就跟老师黑板练就的一手好字呀…我想说啥来着，尽管发展快，带来了高效率，高方便，每天穿漂亮衣服，你仍旧摆脱不了，变成了资本家的螺丝钉…你仍旧不知道为了什么每天劳作到很晚，你的思想跟电影里没有什么可进步的，你让现在刚结婚的年轻人，领个孩子试试？？如果你有四个妹妹，家里没有爸爸，困苦不堪，现在的你是不是非常乐意有人收走两个？？

调侃自己而已，没有共鸣的也别对号入座啦…