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Fairy tales of the Viennese wood

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Olivier primarily seeks to immerse the literary drama of Shakespeare in the historic atmosphere of the people of Shakespeare.Famous monologue about the royal conscience, knowing that the last king's decision related to the responsibility for the life and death of many people, becomes a power that could never reach any piece of literature or theater production. That is the secret of the movie:material beauty - the beauty of the human body sculpture, costumes, decorations;spiritual beauty - the beauty of words and music, the richness of intellectual and dramatic fiction, all translating into a movie by selecting the most impressive scenes of prisoners in the most appropriate setting, expressed in the rhythm that promotes the most unmistakable manner the profound reverberations of that topic conscience suddenly finds in alltimes in a person's heart. So is every reason to conclude the following:cinematic beauty, beauty in the film - it is beauty new, more complex, consisting of materials of all kinds of art, which, thanks to the construction of a particular frame, and download the film ТЕРРИТОРИЯ ЗАБЛУЖДЕНИЙ and certain vital rhythm of all the various used items - from inanimate objects to the person to do things in accordance with download the film ТЕРРИТОРИЯ ЗАБЛУЖДЕНИЙ and theSelected Stories - become the means of artistic expression of a download the film ТЕРРИТОРИЯ ЗАБЛУЖДЕНИЙ and certain fact, download the film ТЕРРИТОРИЯ ЗАБЛУЖДЕНИЙ and certain conditions of human existence, become the main theme, the principle of artistic unity.Philosophy neorealism that the creator of a new school feel only more or less unconsciously, can be expressed in one sentence - a simple consequence of the basic thesis of true cinema: the means of expression must be sacrificed to seeking to express.Cinematographer reveals a deep, dynamic reality, a truly humane, in kakomnibud military episode in kakomnibud fact quite a different character in the postwar years, trehchetyreh groups of people, like thousands of others, in the train, bound for Lourdes, the banal story happened to not heroic and even treacheroussalesman, accidentally met a girl on the train. He saw and wants to show others how spiritual wealth hidden in the depths of the most everyday events.He boldly refuses to the play of light and shadow in the control shooting, which seeks to become an end in itself, as in the Mexican school Emilio FernГЎndez and Gabriel Figueroa He does not care about the ingenious contrivances, as in many French and Argentine tapes. He is not eager to achieve sensational effects by mounting as Eisenstein and Orson Welles.He aspires to the same goal: his camera work is modest, its installation seems devoid of originality, simple composition frame and plastic material, designed specifically to express his inner vision.

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Moreover:he not only ignores the beauty of the material, but also pays attention to the intellectual and spiritual beauty in the narrow sense of the word, which we discussed earlier. A brilliant French critic could say, "When you read the libretto, the scripts of many Italian films just cause laughter.If we consider the plot, they are often the only moralizing melodrama.




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