Strong homosexual undertones and one homosexual sex scene where the actors are fully clothed. No nudity shown.


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


There is Fassbender’s fear in fear on the school’s intranet. The classmate said that he couldn’t see it again after watching it for 10 minutes. The full screen film of the 1970s had a sleepy plot and unintelligible narration. To tell the truth, I slept for several times before I reluctantly finished watching the film, God knows why Professor Huang Baofu, an expert in film and television literature in our department, is so strongly recommended. Does he have insomnia? I don’t know this, but I remember I really saw a Fassbender film before, but I didn’t know that this strange person’s film was so affirmed and respected at that time.

Fassbender’s world is terrible and tempting. In the narrow and cramped space, in an ominous tranquility, it is full of disturbing poetry. This is not Antonioni’s geometric framework, modern urban reinforced concrete desert; Nor is it Fellini’s human circus entrance ceremony, which is lonely in the noise, obsessed with dreamers, and laughs funny in painful despair. Unlike Bergman, his passion is not the Old Testament fever; He is also different from Alan Rene. His poetry is not an elegant, meaningful and clear “Andante”. This is the pride of people in a “post-modern” world. He is a genius who appreciates deep despair and a victim of contemporary western society. Just as his heroine Maria Braun devoted herself to the sacred and social success of marriage, Fassbender devoted himself to the world and film art with a desire that he could not own, but did not know that he had been betrayed by the world of money and corruption.

Fassbender, who died at the age of 36, left us more than 40 films and TV films. This amazing number of art sequence, the ending of the “unscrupulous” expressionist film “sailor quille”, seems to be very abrupt and accidental. But the horror caused by this film in the western world can almost be compared with his death. With mixed praise and praise, people’s warm praise and angry spit are higher than the response caused by any previous film of fassbende. As Fassbender’s last masterpiece, this film with apocalyptic style is not so much a film as a fable composed of images. Its contribution is not only to provide a new explanation for the “gay subculture” of modern western fashion, but also to present Fassbender’s world model to audiences all over the world. The dark, dirty and desperate picture of the world echoed like a sharp alarm in front of Fassbender and behind him.

In a sense, quille the sailor is a film with dual protagonists. Another leading role is officer Sai long. On the narrative side, he is the spectator and insider of all actions and events in the film, while on the structural side, he plays the narrator in literary works – a personalized narrator. On the audio-visual side, the character always seems to sit comfortably in the ship’s command room, overlooking everything through the glass window. At the same time, he is everywhere like a ghost. His eyes followed another protagonist, quille, examining and commenting on him. After almost every paragraph in the film, there will be a close-up or close-up of Sailong: he is outside the door, outside the window, on the deck, beside the gangway. In the film, the motion and static mode of the camera, the switching between shots, the orientation and angle of the camera are often based on the viewpoint of Cylon. Among them, a large number of scenes following the characters are like closely following the eyes of the characters, while the fixed lens keeping a certain distance from the characters is like a pair of eyes peeping from a distance.

Cylon is an indifferent bystander and a fanatical peeper. In one picture of the film, Cylon’s face is hidden in the dark, and only an elliptical spot illuminates his eyes. As a symbol, this picture is reminiscent of the villain who stooped to peep through the keyhole in the melodrama. At the same time, it forms an ironic counterpoint with the image of the dignified superior in the narrative plane and the authoritative narrator in the structural plane.

It seems to be a repeated phrase. This scene, this image structure, appears again in the film. Only this time, the man in the background was replaced by his brother quille. Not fit to be seen again when Louise tried to fail in conversation, the image in the mirror looked so ugly, cold and horrific: under the bluish green light, Louise’s face showed a dead white, and she painted a big purple lip with a red purple. It is not so much a real mirror as a wandering soul of despair and loneliness reflected in the magic mirror.

In the last few scenes of the film, due to being shot by Jill and stopping Quiller’s plot to frame Jill, Cylon finally came together with Quiller. His participation in the events and actions on the narrative side of the film made him lose his identity as a bystander and narrator. Therefore, the film’s concluding statement was not made by Theron, but by lousina, which was the last scene in the bar. Desperate lousina knelt down in public and begged Quiller, but Quiller just dodged like bypassing a stake and walked out of the door expressionless. Louxina sat down next to the owner and opened two cards without any hesitation. She suddenly stopped, as if stunned by the moral conveyed by the two cards. She finally laughed and trembled with hysterical excitement. In the laughter, she shouted the last dialogue to the inexplicable shipowner: “you don’t have a brother!” It seems that the shipowner who suddenly realized it responded to Lou Xina with a strange laugh; The shopkeepers and policemen still leaning on both sides of the counter also looked at each other and laughed helplessly. In such an empty bar for the first time, the four people who had been close to quille looked at each other, and their joyless laughter echoed in the empty screen space. At this time, in a panoramic lens, the figure of Quiller appeared outside the wide glass window, which was shrouded in an extremely bright pure green light. Like a ferocious devil and a terrible ghost. The film ends at this moment. “You have no brothers!” This enigmatic language, in the fable framework of the film, may be translated as: “you have no relatives!” “He doesn’t love you!” Yes, in the film “quille the sailor”, the world model built by Fassbender is a world without love. Compared with other Fassbender films, the world is darker and more desolate. There is even no empty throw of love, fragments of love and illusion of love. Without love, there is no hope of salvation. The Fassbender’s world model presented in the sailor quille is such a fable about the coming of the end, but there is no hope to escape and no hope to be saved.

Yes, in the world model presented in quille the sailor, Fassbender’s tone is cold and pessimistic. This pessimism and coldness comes from a soul deeply desperate for the western world. He is not an ancient wise man. He can have a unique insight, coldly peep into the future and put hope; He is not a decadent world wearer. He can use cold ridicule to show a black humor. He is a persistent person and a persistent artist.

A Western philosopher once wrote in his last words, “I hope human beings realize their defect: lack of love.” Fassbender realized. He constructed his world model based on this cruel and loveless reality. However, it is time to get rid of the nightmare in the magic mirror, peel off the inhuman mask, and end the bloody ceremony. This is the cry of Cassandra in the contemporary western world. Someone will hear the voice. Because, “the revolution will not happen on the screen, but outside the screen, in the world.”

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