麦田里的拯救者

　　The done road will mean an inner travel, growing at the same time, as Andrej Rubljov, Huckleberry Finn or just in Csongor case it signify – but well for the pilgrimage this his aim.
　　There is a pilgrim, who frees the birds dropped by the peasants into a trap bird cage, and communicates with them. There is a peasant boy, who is heading to his love, into the other village, a bird cage locked a bird marked for a gift. They road intersects until a piece, the film presents this road.

　　The pilgrim Jesus-face man, and analog his mission to Jesus – his own folk sends it onto a death on the end of the film, and then humiliates it well. His environment will be unable to tolerate the figure representing something else, cleanness, loftiness – this archetypic topic.
　　Receives even a metaphysical edge here, his end obvious one divorcing man-bird/release-death because of parallels. The pilgrim has himself called a cloud, wind otherwise. They meet various people on the way, there is everybody in a some kind of crisis just.
　　these problems provide newer and newer frameworks for the draughting of a message with a spiritual character. Both main characters arrive to an important station on the end of the film:
　　the pilgrim, dies as soon as I mentioned it already (but maybe only well thrash), the peasant boy it arrives away onto the single newer level of self-consciousness though: he release the bird, with a empty hand arrives to the girl. Their road separating from, may not see that turns into furious peasants' prey.
　　The simplicity and the pictorial composition the most important organizer principles of the film are insured. It is visible very much that the director is a cameraman otherwise. And it shows, that deeply spiritual man (his middle name, Taikyo not joke, being practising Buddhist). Beside these the benefit of the film the deviceless one, sometimes directly unaffectedly puritan theatrical game, the hit musical selecting (likewise traditional pilgrim songs with a Russian language).