Loveless Actions That Can’t Touch the Ground——The post-war myth of "Farewell, Lover"

If there is war at a distance, passionate love can be used as a weapon of resistance. Love in "Farewell, Lover" (1958) is unshakable. Poland's scars in the Second World War are still sore half a century later. To fight destruction with emotion, what matters is getting back to people. Pawel, a noble son, meets Lidka, a dancing girl at a nightclub, the two of whom manage to escape the established track and spend anonymous nights as a couple on the outskirts of town. With the fall of Poland, the two met again on the final night of the war. Their status and status changed, but affection was still there, but everything was confusing. The painful experience of Poland at first is suitable as a bearer of eroticism, but "Farewell, Lover" has no poignant scenes, nor is it madness of love; Wojciech Jerzy Has (Wojciech Jerzy Has) looks at the devastating war from a distance of intellectuals. Traumas and hard-to-touch scars are hidden in dialogue and pictures, and are formed like unattached thorns.

Cars with beginning and without end

The original title of the film Pożegnania, which translates to farewell in English, refers to "separation" many times. The son of the nobility comes from youth autonomy and rebellion, in contrast to his accidental departure and survival at a later date. Trains continue to appear in films and are the primary means of transportation for many of the protagonist Pawel's "journeys," which are unique in Poland's war legacy. When Warsaw fell shortly after German troops entered the city, it shocked Europe. Nazi totalitarian establishes concentration camps at Auschwitz and other places. "Criminals" were carried away like beasts. The train leaves behind the souls of those who were and are struggling. Pawel and Lidka left Warsaw by train together. At that time, the war had not yet broken out, but there was no other car, the captain smiled calmly, and the two were confused because they were unable to determine their destination, as if "predicting" future history. Names and places are not important in the text. In the film, Pawel repeatedly says he does not know and does not need to know, all because the individual has been left behind in history. If that's the case, sweet whispers are even harder to talk about. Saying goodbye doesn't mean memories and experiences can be erased. The station scene that appears repeatedly in the film is unclear and inexplicable. Everything was suspended in midair, making people unable to ignore it. Names and places are not important in the text. In the film, Pawel repeatedly says he does not know and does not need to know, all because the individual has been left behind in history. If that's the case, sweet whispers are even harder to talk about. Saying goodbye doesn't mean memories and experiences can be erased. The station scene that appears repeatedly in the film is unclear and inexplicable. Everything was suspended in midair, making people unable to ignore it. Names and places are not important in the text. In the film, Pawel repeatedly says he does not know and does not need to know, all because the individual has been left behind in history. If that's the case, sweet whispers are even harder to talk about. Saying goodbye doesn't mean memories and experiences can be erased. The station scene that appears repeatedly in the film is unclear and inexplicable. Everything was suspended in midair, making people unable to ignore it. The station scene that appears repeatedly in the film is unclear and inexplicable. Everything was suspended in midair, making people unable to ignore it. The station scene that appears repeatedly in the film is unclear and inexplicable. Everything was suspended in midair, making people unable to ignore it.

The two of them met other people in the countryside and had a wedding. They live in the house of an old woman in the countryside. Body sculptures and murals of angels are gathered in a rustic hut. Together with women taking advantage of the opportunity to make money, the playful "just married" arrangement is like a short-lived arrangement. "Heaven" is anchored. The surrealist Gon Vadis is still a question of "where to go" in Latin. The main character and heroine repeatedly deals with the "love" emanating from this space, and of course there is no possibility of attachment and rooting. The film does not discuss the process of sending Pawel to the Auschwitz concentration camp. The film jumps straight from prewar Poland to 1943 before the German army was defeated. He did not choose to face history from a critical point of view. the torments of war against the living. Pawel went to visit his dying aunt. The manor house became a private hospital (hotel house). The characteristic of space that cannot be left for a long time refers to the state of the disabled survivor. A group of survivors are forced to stay here temporarily. Only the servants could see the reality clearly. Satan filled the dining room. Relief and sympathy are definitely not "peace" celebrations, because no medicine can actually heal people's hearts. The lens length of the entire film also fits in with this post-war scene, front and rear screen replacement,

In a world that has long been turned upside down, even if peace returns, there is no possibility of repairing the chaos. Haas deliberately inserts the last two people's contempt for the "aristocratic" class (intellectuals, aristocrats, and soldiers) into the dialogue between Pawel and the arrogant dancer and the ignorant old woman. He remained silent and put his face towards the totalitarian. An interesting setting is the repeated appearance of sausages. This German sausage delicacy also refers to the "tatic sausage" (sausage tatic) in military strategy, which was more capable of touching the nerves of audiences in the late 1950s. Pawel and Lidka order sausages (including hot dogs) at their respective nightclubs and dinners. Sausage is not realized and is a second choice food. In the end, the tangible and intangible sausage was never seen, it even became a pet name. This film uses a series of sausages. Love also seemed to convey all the wolf's satisfied ambition, and responded with "dismissiveness."

"Farewell, Lover" has a backing dance song in the nightclub opening scene, mentions the rose hotel and the melancholy feeling of staring at a train that never returns. This film is about war as a farewell, but rejects old-fashioned loneliness. Because of war, all emotions and relationships can only be like "roses" and "hotels." Romance is just a virtual image, and long term is just a tingling feeling. The opening list for the film is made with a lover in the rain as the background. The depth of field adjustment makes the image beautiful; but after saying goodbye to a lover, war reveals the absence of humanity. Where else can the word love be attached? At the end of the film, Lidka is not actually lost because of her husband's departure, but rather miscalculates the power of love, unable to find humanity's new stronghold in the ruins. Haas is considered to be the forerunner of the French New Wave. Apart from the completely different methods of sound and image editing, I wonder if Aaron Resnai has ever seen Hiroshima in Poland?