(A) the closest representation
The Soviet version of "War and Peace" actually has a bad casting-the actors are older, and so are Helen and Maria.
Obviously he is a young man, but the actors who play Prince Andrey, Bill and Dolohov are all middle-aged. Helen was a girl when she first met Bill, but she was already like a middle-aged woman.
Old as he is, God is right.
Prince Andrey and his sister Maria.
Prince Andrey is used to serious thinking, and he is almost purely spiritual in his books. Handsome, straight, noble and profound is enough for this role, so you can quickly ignore the wrinkles between his eyebrows and eyes.
Sergei Bundachuk, who plays Bill, is the director of the play, but more like Bill himself. Fat, kind, idealistic, often embarrassed, holding glasses, the appearance of the crowd, are not quite the same as Bill in the book.
Dolohov is a savage hero. His extreme courage and contempt for everything in the play turned into an exaggerated stage action, which is an eternal expression of contempt and coldness, because the actor's age seems to be a little reluctant, but the gas field is enough.
Helen and Maria are two very important female characters in the book except Natasha.
They are almost two extremes-one indulges in debauchery, and the inner emptiness reflects the personal appearance around them, thus gaining the reputation of wisdom. There is also the beauty of Russia's growth, and the crowd shines, which reminds people of another famous Helen in history. Although Helen in the play has never been a girlhood, she immediately entered the role after becoming Mrs. Bezhuhaofu. It is incredibly beautiful, and death dares to find such a person.
Maria and Helen are opposites. She grew up in an extremely rational and harsh environment. When other girls have entered the social stage, she is still studying geometry in the isolated Tongshan, seeking comfort from religion. Maria's face is ugly, but her eyes are beautiful, so her face has changed. The actors in the play are all in line with Maria's role except for the older ones-dark eyes are deep and flowing, and the facial features are as stiff as the mother of a monastery; The cheekbones are extremely high, and the side may have a touching angle, which makes people sigh when the front is deep and gloomy.
Natasha's casting was almost perfect. Although 1956 has the American version of Hepburn Zhuyu, the Soviet version of lyudmila is not inferior. She appeared in fashion with short hair, and the guests danced like elves.
Natasha is not bound by loyalty and chastity, and the religious asylum she seeks when she is depressed is only her refuge, not her heart. Her pure and exuberant vitality, while appreciating and lamenting her beauty and talent, does not lose half a point. Natasha is extremely sensitive and clear-headed, so the carriage returning from hunting at night not only saw this moment, but also saw the meaning above this moment and its own destiny; Earlier, she sat on the windowsill and wanted to fly, which came from Tuo Weng's almost supernatural experience when he was young. It was a spark at the beginning of life.
In essence, Natasha is very similar to Andre. Think too much; One wants to fly, the other gets inspiration from the sky; What you love is love itself, not the specific object. Only when Natasha landed at last did Andre quietly walk into death.
Like Helen, Natasha is a transparent person. The difference is that she projects the pure and strong feelings of human beings, rather than Helen's projection of the world in the social field.
The most impressive thing about Natasha played by lyudmila is not that she is comparable to Hepburn's beauty, but that her lips are always tight and her chest fluctuates with excitement. She is like a bird flapping its wings, blindly following instinct, but always hitting the window or being caught.
Natasha's temperament changed greatly after she met Andre who was seriously injured and sent him away. The old man didn't wear black clothes, but his eyes were old and withered. From youth to old age, lyudmila completed Natasha.
Let's start with two military commanders, Kutuzov and Napoleon.
Heavy and lethargic, the old commander who collapsed on horseback with one eye blind didn't even have one eye fully open for a moment. His wisdom came from his insight into the world. He was a wise man, not a genius. He died peacefully. The same is true of the characters in the play, who are as heavy as scales and yellow hairs, and anti-heroes like Napoleon.
The magic of Napoleon in the play is that it is very similar to Napoleon in oil painting. Soft and white, gloomy, short and fat, well-maintained, with delicate facial features, he just needs to sit on the battlefield and hold a telescope, and he is already Napoleon. There is not much expression, and the scene of him yelling at the Russian messenger is omitted. There are not many scenes of Napoleon in this version, but the form and spirit are similar.
Finally, the old Lord Paul Kanski. What should a tough old Russian aristocrat look like? It is definitely not the rude Russian peasant image in the American version, but the skinny eagle nose in the Soviet version. Although he is stubborn and cruel to his daughter, his insight into the current situation is dignified and proud, and he is more aristocratic than most nobles in the book.
(2) Pure Russian spirit
What is the Russian spirit? Outsiders are not clear. Just like being asked what the spirit of China is, it is also very unclear.
But at least it can be reflected in some unique scenery.
For example, a scene in which the Rostovs hunt wolves and rest at their uncle's house. Natasha, who has received western education, is obsessed with folk three-stringed instruments. She danced a traditional dance, not like the steps in the ball, but dancing. Traditional dance is rough, stepping on the ground step by step, sweating like rain echoes the dancing lyre from a distance, and she looks at the people in the room.
There is another scene. The three young men and women of the Laustoff family recalled the past in a dark room. They were afraid that if they kept thinking about it all the way, they would recall the feelings of their previous lives. In another corner of the darkness, a middle-aged man was playing the harp, and the sound made him speechless. Suddenly the door opened, like a dark dream shining into the light of reality.
Here comes the man in makeup. Therefore, on a whim, the young people of the Laustoff family flew over the snowfield in a sleigh and wore their own clothes to have fun with their neighbors. Other ethnic groups are always closed in heavy snow, while Russians, on the other hand, are not only completely open, but also in high spirits. Those sledges are like Natasha's illusion-they are not houses running to the world, but fairyland.
On the battlefield, the fear and pain caused by individual deaths and injuries are presented in a very "natural" way in the book and the Soviet version of the lens. Soldiers face death with a gambling mentality, and they will not curse their fate if they lose. Death and injury are as natural as wind and rain in nature. This is the pride of Russia. The same is true of great defeat and great pursuit, regardless of the rules of other countries and races, only following their own instincts.
It was both heroic and extremely romantic, so Natasha sat on the terrace and wanted to fly, and then the camera flew over the forest and lake. This is about Russia.
(C) Tuo Weng's view of history and ideological change
Several important turning points of Andre and Bill are fully reflected in this version.
The argument between the two people at the water's edge is whether people are immortal; It is good to live in peace of mind and health, or to seek benefits for everyone. The camera is aimed at the sparkling water, which symbolizes that the two have entered a new stage of life and started to think about the meaning of life.
The big oak tree that Andre passed on his way to and from Rustov's house changed from lush foliage to green leaves everywhere. Spring is no longer a meaningless sweet scam, but a fierce surge of enthusiasm in his chest.
From hiding in clubs and banquets, hiding in palaces, government offices and the army, hiding in the countryside to escaping from life and awakening, in Andre, I looked up at the sky and lonely shadows in the last dark hall, and in Bill, I ran around and burned Moscow in the rain of bullets. When the soldier told him that he could not leave after being captured, he couldn't help laughing: "You can't lock me up. I am me, and my soul is immortal! (to this effect) "
Finally, the dead are gone, and the living finally decide not to escape their fate.
Toon's view of history is also accurately interpreted in the play. He suspects that heroes doubt the accident of history and that it is not the people at the top of the pyramid who create history. Their will can't reach the lower class, let alone change a war that is almost as irresistible as a natural phenomenon.
Therefore, Kutuzov and Napoleon in the play both know themselves and don't know themselves, but they both play roles that they have to play and cannot change the historical process. On the contrary, soldiers and this mysterious power have become the present. When the camera moves slowly on the battlefield, the soldiers breathing in battle and countless war horses rolling on the ground are the protagonists.
(D) the huge mobile war scenes
Look at the data: 1.25 million troops, 1.5 million war horses, about 560 million dollars in the 1960s. The number of people is equivalent to the number of front-line troops when Napoleon launched the campaign, which is almost equivalent to fighting another battle.
At that time, the Soviet Union prepared 695 French Napoleon cannons and 587 Russian cannons of the same period, 20 of which were dragged out of the museum. More than 30 helicopters and 3 jet planes were prepared for aerial photography, 40 tons of fuel (including gasoline and kerosene), 52 tons of gunpowder for smoking, 23 tons of gunpowder for gun ignition, 16600 grenades, 6600 smoke bombs and 4500 fuses.
There are 20,900 sets of costumes, of which 47 factories provide ordinary uniforms/hats/monk clothes for the film. Two factories produce harness and leather products.
In order to shoot this film, the Soviet Union spent two years building a fake Moscow in the northeast suburb of Moscow, covering an area of/kloc-0.0 million square meters, including residential buildings, government agencies, cultural facilities and even a complete Kremlin, which is unique in the world film history. The last fire burned to ashes, which made the scene of burning Moscow.
The total length of film used for shooting is 1540 km (the flight from Shanghai to Beijing is 1088 km, about 2 hours).
Beyond the data, it is the epic feeling of the picture. The film used a lot of long shots in one breath. Wherever the camera goes, no matter what the scene is, all the characters have their own positions and things. Carefully designed movements appear natural and focused in the lens, as if the train passes through the window and the scenery outside the window runs along the track.
The scene of the war, from the formation of the phalanx to the way of fighting, was spread out on the vast plains of Russia according to the situation at that time. Vilen, who is full of smoke, doesn't ask about life and death. The camera was raised, and finally I looked down at the battlefield filled with smoke through the white clouds, just like God's perspective, coldly looking at purgatory on earth.