晴朗的天空

　One of the most important examples of the post-1956 thaw-period in Soviet cinema, the film is in three parts. The first is the swooning romance of Sasha and pilot Aleksei, who scrupulously determines that Sasha has graduated school before succumbing to her aggressive pursuit of him. Chukhrai establishes a strenuous camera style, consisting of swooping movement punctuated by tight closeups, which he carries over to the second part, the couple’s wartime separation. (The couple by fiat consider themselves married—a nice anti-bureaucratic touch.) One passage, where Sasha hopes to catch a glimpse of her father in a troop train passing through, is visually hysterical due to this “style.” Word arrives that Aleksei’s plane has been shot down; the nation proclaims him a dead hero. Sasha bears Aleksei’s son and still hopes her beloved will return. The war ends, and he does. Part Three is narratively elliptical and, visually, mostly subdued—a different style; a different film, given the narrative through-line. Stripped of his “posthumous” medal, as well as his Communist Party membership, Aleksei turns to drink; his crime is that he survived, from which cowardice or even collaboration with the enemy can be deduced. (Apparently Aleksei was unconscious when he was caught and imprisoned by Germans.) Aleksei keeps petitioning for Party reinstatement, but after confronting a statue of Stalin even he loses confidence in his cause! Stalin dies, and everything is set right. Aleksei looks on with pride as the son who disdained him lands a plane from the now clear sky!The film was produced during the short period in the Khrushchev administration when criticism of the abuse of power under Stalin's leadership was accepted; within three years, Brezhnev had risen to power and this sort of commentary would once again be forbidden.Действие происходит в СССР в 1950-е годы.Лётчик Алексей Астахов воевал и попал в плен, потом бежал. В мирное время Алексей столкнулся с недоверием и подозрительностью - как военнослужащий, побывавший в плену и тем самым "запятнавший моральный облик советского летчика". Алексей страдает, не может найти работу по профессии и место в жизни. Его спасает любовь Саши Львовой, которую она пронесла через войну и все трудности послевоенного времени. После смерти Сталина Астахова вызывают в Минобороны, где возвращают звезду Героя Советского Союза. Алексей возвращается в авиаотряд и испытывает самолеты.

看的时候想，拍大草原是为了什么，拍牧民的生活是展现了什么，也从来不指望一部纪录片可以改变某个现状。选题很好，但是论点略显散乱，会让观众很困。另外，牧民凭什么就不能去城里做房地产了，牧民就要一辈子都是牧民？往上数三代没几户不是农民的，极端主义阴谋论右派非常让人无奈。

《晴朗的天空》环保类题材的纪录片也已经很多了.随着题材渐显,更多的问题也浮出水面:比如谁的环境?替谁说话?问题意识的指向性?深层现实关照是什么?尤其是离现代都市越近的地方,改变的越快,环境人为的痕迹也越重.被改变习性的民族与环境发生了怎么的关联?。

又是一部拍攝於內蒙古的影片。與《蒙古草原，天氣晴》不一樣的是，這是一個蒙古導演的作品，如果說《蒙古草原，天氣晴》是「客人」的視角，那麼《晴朗的天空》則是「主人」的體悟。

怕是怕这学期放CNEX的片到最后我也要睡着 立意很好 有关牧民生活的美好朴实和对黑金挖掘的担忧 反映时代 中国在各方面都很焦急 离真正的可持续还任重道远 但都是该我们做的 逐渐改变的。

像是对生活的截取，骆驼剪毛，商议婚礼，出嫁，草原民俗文化节，羊犊出生，牛犊出生，煤矿，裂缝的草原...很多画面，却又不觉得散漫零乱，是喜欢的节奏。回忆起来，印象比较深的是，羊犊子接生，但它却没活过来，人停留在它身边，镜头停留在它身边，有所徘徊；再后来就是羊群过河的时候，有一只被踩踏的羊，落在泥水里，鼻腔浸满泥，或许以为死去的时候又活了过来；帮牛犊子站起来；给小骆驼喂奶...画面冷静，不多渲染，平淡，却给生命留下了疑问与神秘。

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