The boy watches a brief fantasy sequence of Rasputin dancing and cavorting with several semi-nude women. Breasts and pubic hair are visible throughout.
A young boy urinates into a pot. His penis is partially visible.
Several sexual scenes throughout the film, some involving children or characters who are adults but are played by quite young children:
A man hides under a woman’s skirts, she groans and he comes out doing his trousers up. She later becomes pregnant.


Seven men are shown fully naked from the rear from a distance.
A woman gives birth and this is seen from the perspective of the child emerging from her vagina. The baby is played by a child actor and is shown having a bath (no nudity shown).
A man caresses a woman’s breasts whilst they are fully dressed.
A man and a woman have sex in an explicit scene. The man is shown from the rear fully naked, the woman strips and her breasts are briefly shown twice. They fall onto the bed and have sex, the woman groaning.
A man comforts a crying woman by reaching his hand up her skirt. She begins receiving pleasure.
A boy and a girl get changed together (the characters are both 16 but the boy is played by a young actor). The boy is shown with fully rear nudity. Then the girl undresses and stands naked. The boy buries his head near her vagina; this is only shown from behind the girl. The camera pans up to her face (she covers her breasts). She is then shown naked from the waist up from behind.
The same two characters share a bed. The boy sucks some sweet powder from the belly of the girl. She then turns the lights off and, although everything is under the covers, they essentially have sex. The girl is eventually pregnant and the boy claims that he is the father.
A man and a teenage girl have sex (no nudity) with a resulting pregnancy. Heavy thrusting is shown but it is short.
Two children end up in bed and the boy is shown with rear nudity getting dressed.
A woman is raped in front of her family (no nudity).


Film review:Translated by www.rabudo-ru.com


At the beginning of the film, the rhythm of the tin drum was expressed with the non dull drum, which gave the drum a sense of happiness, mixed with a bit of absurdity, and gradually strengthened layer by layer. When the music stopped suddenly, the child’s monologue introduced us to the beginning of the story. This film is not like the complicated and chaotic personal narration of the original book. I often need to toss and jump between the lines, just to find some seemingly irrelevant clues to sort out the thoughts in my brain, so as to find a reasonable and natural explanation. The original work starts with [a fat skirt], and this film is no exception. The jumping language and unpredictable narrative style of the original work seem to come from the mouth of Oscar receiving psychotherapy in the hospital bed. A sub-cultural atmosphere of morbid logic and abnormal ethics is fully displayed in front of us, while the film is relatively plain, the narrative tone is not warm, and the lens language is simple and natural. Perhaps it is this simplicity and nature that makes the film lose the spicy, obscure and strong allegorical connotation of the original work, weaken and dilute the drama conflict, and darken the incompatibility between the character and social life.

This weakening and bleakness is not only reflected in the character and narrative techniques, but also in the film’s vague treatment of the historical background. For example, danze’s troubled history is interspersed in the novel. The novel tells a story about Niobe. Niobe is a wood sculpture of the bow of a ship carved with a naked witch as a model. Its magical history shows that whoever touches it will face disaster. The author obviously compares danze with this wood carving, and condenses the changes of the times into the swing of political position. Many background descriptions such as this in the novel hide the author’s political tendency, and borrow sensitive political issues in every small story in a absurd style. However, the background of danze city was briefly introduced in the film. A few simple scenes and a few simple narrators clearly reflected the director’s attitude of weakening the political meaning, and fully reflected the calm bystander and limited reflection of German Cultural Thinking on World War II 25 years after World War II. This kind of watching and reflection is not mixed with blind patriotism, but also fully eliminates the extreme and stubbornness of imprisoning culture. This view is broader, calmer and more objective.

My room is windless / pious / a cigarette / so mysterious / who dares to raise the rent or inquire about my wife

This is a fragment of the original author Gunter glass’s poetry collection [the advantages of the hyacinth flag], from which we can also feel the author’s personal hardship and his inner depression and helplessness. Of course, it is the author’s own life experience that has created the outstanding literary and artistic achievements of the original work. Of course, it has also left a heavy mark on the novel. It has poured more into the author’s own attitude and views on the characters. It is not so much a reflection on history as the author’s sympathy and compassion for the tragic fate of historical and social characters. From this point of view, Its meaning is quite similar to Mr. Lu Xun’s “anger and sorrow for sister-in-law Xianglin”.

From the birth of Oscar, the film presents his innate rebellion in front of the audience. This rebellion is a kind of avoidance and world weariness. From a deeper level, it reflects the loneliness and anxiety in the characters’ hearts, and also shows the great trauma caused by the turbulent era and the war. The director used Oscar’s subjective perspective to describe the scene of him crawling out of his mother’s womb. The inverted perspective, the 60 watt light bulb facing him and the strange faces of two men made little Oscar want to rush back to his mother’s womb again, because he felt that the world was so strange, which was very different from what he imagined, It was not until his mother said that she would give him a tin drum when he was three that she aroused his desire to live in this world. However, the ambiguous relationship between his uncle and his mother made him hate the world again. He preferred to live in a carefree childhood, so he chose self mutilation, fell into the cellar and never grew tall again. It was the existence of the tin drum that made him willing to stay in this world. That’s why when his father wanted to take the tin drum from his hand, he chose to resist for the first time in his life and smashed the clocks and watches at home with screams. This fierce scream runs through the whole town, and the sound waves from people’s vocal cords have never been as intense as him. Being faithful to the original novel, the surrealism given by the film to the characters adds fantasy to the film, but in fact, growing up and screaming are intertwined with such fictional magical stories, but it is a true description of real life in different specific environments.

Oscar lives in the world of small citizens of rabes Road, langfuer District, which is inhabited by Danzig Germans. The film’s first description of the Nazi appeared with little Oscar’s second scream. His scream that was enough to make the street lamps tremble made the Nazi appear so disharmonious. The smart little Oscar swaggered in front of the Nazi team, and several Nazi soldiers beating gongs and drums looked clumsy and ridiculous in front of little Oscar and his small tin drum. Such short shots vividly outline the background of the whole town and vividly reproduce the narrative means of the novel.

Little Oscar and his little tin drum are always inseparable. In a sense, the only drum that makes him nostalgic for the whole world has been integrated with him, which not only refers to the inseparability of appearance, but also plays the identity of a life bearer. It communicates with him in an elusive way. Many times, the drum is another form of scream and another form of cry of little Oscar. Its sound and rhythm often condenses Oscar’s emotions, happiness, innocence, sadness and fear. Oscar’s first class will be unforgettable to the teacher forever. His drums and screams deeply hurt the teacher’s fragile nerves. This unrestrained emotional vent will also spread the tingling feeling to the audience. Among the many objects “attacked” by Oscar screams in the film, two have attracted our attention. One is the teacher who symbolizes “assimilation symbol” (exactly speaking, the teacher’s glasses), and the other is the specimen bottle of the doctor who symbolizes “imprisonment symbol”. The shattered specimen fragments and the prototype of children wrapped in cross flow formalin liquid are clearly a subconscious resistance of little Oscar. The taboo of this resistance to institutional imprisonment is extremely direct, although there is no hearty and incisive response to the dramatic resistance at the end of [Shaw’s redemption], and there is no thought-provoking return of liberalism at the end of [leap over the madhouse], But I still remember the sharp auditory expression, image metaphor and profound ironic effect.

Oscar does not exclude his uncle, because when he and his mother moved to the early stage of the town, they had a very harmonious relationship, which was fully illustrated by his happy footsteps and kind expression. However, the impact of the incest between his mother and his uncle on little Oscar’s moral concept is unimaginable. When young children spy on all this, His character has become not so simple. His eyes are deeper and deeper. He tears the balance of the world with the screams of the top floor of the building. The falling glass fragments are like the blood flowing from the child’s heart and make the last moan in the empty and distant sky.

Oscar is full of fear for human beings. He witnessed all kinds of strange things in the world until one day he met the same deformed man bebra in the circus. This is also the first time that the film clearly depicts the scene of his communication with the outside world. This scene is very short. Oscar’s eyes eager to communicate, The brisk drumming and the scream of showing his special talent made his closed heart open to the audience and the world for the first time. If the tin drum, as a synonym for faith, conscience, morality and justice, lured him into birth, then bebra, as a synonym for friend, brother, kindness and sincerity, relieved his long suppressed loneliness and desolation. This unexpected encounter is the brighter point of the film. Bembra’s gentle language is like a wisp of clear spring, which moistens Oscar’s dark inner world and foreshadows the outbreak of the subsequent war.

Oscar’s father is obviously a representative of a typical German who is pro Nazi. The head of Beethoven hanging above the piano was replaced with the head of Hitler, indicating the transformation of historical background. The bright Nazi armband on his father’s arm The frequent hysterical Nazi speeches on the radio and the parties in the square where lazy people are inexplicably disturbed by the sound of Oscar drums are using character behavior to map the current situation of the town under social unrest. Contrary to his father’s German identity, his uncle is polish. He clearly knows the role of Poland in such an environment. His anti war mood is much more restrained than his father’s fierce, which corresponds to Poland’s weak political position and military ability in World War II. The inner depression of little Oscar, who wandered between two men and two incompatible positions, was out of control because of the outbreak of the war. Since then, the development of films and novels has fallen into a gloomy and dark tone. Even the occasional bright colors are shrouded in lethargy, and death comes one after another, Just like the bloody eel head chopped by his father’s army knife, it is cruel and absurd.

Mother Anne also lives between two men who can’t reconcile, living in an extremely frightened environment. The powerful violence of her husband and the desire that her cousin can’t fill represent the colonization and rape of Germany and the cowardice and vanity of Poland respectively. These two sharp conflicts are fighting fiercely in the weak female body. She pessimistically thinks that her destiny is suffering and suffering. She helplessly prayed to sober her tired body and mind. She thought she was sinful. She prayed for God’s forgiveness on Easter day. Maybe what she wanted was not forgiveness, but suffering. She was crucified and punished by God like Jesus. “Every organ in her body stores a clear and painful memory of the good Friday hike. Because of the fear of revisiting the old place, her organs have agreed with my mother to let her die.” The text in this novel reveals the superficial reason why Anne desperately eats fish, and also tells the reader from another angle that Anne’s spiritual collapse lies not in the recipe of the crucifixion, but in the unpleasant hike. (there are few scenes in the hiking film, but it is vivid and eye-catching. It is also one of the most impressive scenes in this film.) I still can’t fully understand the meaning of the rotten horse neck fished out of the river and Anne’s evil eel eating. But at least from the perspective of image, Anne’s depressed mental state is not caused by the outbreak of war. Her anxiety about life is the main reason why she can’t choose to stabilize her family and break free from the shackles of two men, It was also the source of her mental disorder for the rest of her life. There is a dialogue between her grandmother and Anne. Anne, who lacks fatherly love since childhood, is frightened by the unknown future of the baby in her arms. She doesn’t want her child to be born and still don’t know who her father is like herself. She doesn’t want her child to repeat her mistakes. From this point of view, Anne’s death is the inevitable result of the tragic outcome of female characters, Is an inescapable law of necessity. Women always play a role of being trampled on in historical events. Movies (including the original works of course) also spread the tragic color to the whole film (and novels) from the perspective of women’s tragedy.

The identity of toy dealer Marcus is Jewish. His Jewish identity was first confirmed at Anne’s funeral. Marcus skillfully used the religious word “baptism” on himself. He clearly understood that his fate was uncertain. The last time I saw him was in the monologue recited by little Oscar. The Jew died in his toy store. Marcus’s identity can be said to be very sensitive. He is the provider of Oscar’s tin drum and has an ambiguous relationship with Oscar’s mother. When he was dying, Oscar once had such a monologue, “there was a toy dealer whose name was Marcus. When he left, he took all the toys in the world…”

Uncle Yang’s death is expected. The sense of destiny is full of the whole film, which is related to the large religious narration of the novel. In the battle of the Polish post office, we clearly saw the tragic fate of the poles. The fast-moving bullets bloomed bright colors on the flesh and blood. The poor and lost people were filled with the smoke of the war, and the God of death paid constant attention to these suffering people. Fate, a chess piece we can’t control, shows light movement and swims between death and survival. Yang’s death is not as direct as the death of other poles. The film does not give us a clear image, but uses the “heart Q” in Yang’s hand when he was arrested to hint at his own destiny, as well as the fate of Oscar’s father Alfred. Uncle and father are two characters around his mother. The relationship between the three is the same as that of J, Q and K in playing cards. J has a childish face and a cowardly inner world. His love for Q tends to be flat under the dual oppression of ethics and authority. His compromise is the special behavior of special characters in special times, but his hot feelings have nowhere to vent, Cheating became the theme of his life. In this way, he avoided the secular eyes and blinded his husband Affleck’s eyes, but he could not escape the sharp eyes of little Oscar. He made the world not so beautiful in the most gentle but sinister way, at least in Oscar’s eyes.

I’m afraid the only beautiful thing in the eyes of little Oscar is the arrival of Maria. He will sing a song [Maria, my worship] with Maria before going to bed:

Maria / I love you / I will love you with all my heart / always love you / we will never be separated.

The lyrics purely express Oscar’s first vision of love between men and women. However, singing is only the best dream, and all the green and astringent will pay a price. Oscar was not the only one who attracted Maria’s attention. When Maria first came to his family, the camera fell from her father’s electrocuted eyes onto Oscar’s young trunk. From the beginning, Oscar was controlled by his father, who symbolized the power of fascism. The subordinate position in the family and his deformed and weak body made this love doomed its end from the beginning. Maria is not a pure girl. She will abuse Oscar with “strange insects”. She will have sex with her father for 15 minutes to win favor. Women’s vanity sometimes does not appear in the form of vanity. Her father made this vanity a reality. She finally became her father’s wife, the wife of a father whose son is the same age as her.

Losta, Oscar’s second woman, met in the circus. They have the same figure. Their combination is like the attraction between him and bebra. Without the ridicule and appreciation of “adults”, the vanity and cunning of “adults”, the inflammation and danger of “adults”, everything becomes like a fairy tale, Oscar realized the love and being loved in the world for the first time in his life. However, the prince and princess have lived a happy and beautiful life since then. Such a scene can only happen in Andersen’s or Green’s fairy tales. The reality is always cruel, ferocious and unprepared. Losta lost his life in an air raid. Oscar became the only thorn bird. His hoarse call cut through the sky and left the sadness of death.

Death is an inescapable destination for human beings, and Oscar’s father is also inescapable. The German defeat was as swift as its blitz. When the Soviets came, his father Alfred burned almost all the Nazi relics, but missed a Nazi medal. His death is as absurd as ever, but it is very eye-catching. The audience experienced Annie, Marcus and Yang

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