The most loved is the one who is ready for the happiness of the loved one with another, to sacrifice his own happiness with him. About preview history
I learned about this film from the philosopher Slavoj Žižek, from a great film about it - "Žižek!" 2005. In it, Žižek called Sacrifice Path one of his three favorite, best ever made, films (the other two: The Source (1949 by Ayn Rand), Eisenstein’s Ivan the Terrible (1944). The attraction of the film was added by the historical and cultural conditions in which it was filmed: the National Socialist regime of 1944 in Germany.
On deceptive, first impressions
The first two-thirds of the film seems like a quality, yet ordinary drama that stands out from thousands of others: a married man who loves another woman who reciprocates him. His heavy reflections on how to be eventually spilled out, not without the influence of his friend, into a desire to save the marriage. His wife, who loves him, is jealous of another woman. In general, a predictable plot of a love triangle, played out many times and does not touch, despite the pleasant play of the actors.
About the most important
But all of a sudden changes in the remaining, matchless third of the film. It changes so much that it forces you to rethink everything you’ve seen in the film before. In the rest of the film, the described storyline receives an unusual development, an extraordinary emotional touching! Instead of selfish and superficial actions that are so characteristic of our modernity in such life situations, which stand out as strong love, we see reasonable actions by truly loving people. All three main characters sincerely and truly love, which is manifested in the unconditional nature of their love: each of them thinks not about their own happiness but about the happiness of a loved one. Each of them is ready to let go of a loved one, for the sake of realizing that although he is with another person, he is happy! And this strongest, sincere, unconditional love pushes all three heroes to sacrificial deeds that strongly touch us for the soul.
My version of the cause of the soulfulness of the film
Perhaps the reason for this spirituality lies in the existing paradox: neither in life nor on the screen, we hardly meet the shown power of love, despite its apparent abundance around us. Indeed, in fact, it is impossible to imagine a stronger love than one for which the highest happiness consists not in merging with the object of love, but in the happiness of this object! True love is always unconditional, always sacrificial. The most loved is the one who can put the happiness of a loved one with another, above his own happiness with him.
P. And in the film, the stereotype that the feminine character must necessarily be weak is simultaneously broken to dust. What is worth at least that one of the heroines killed a dog with his own hands? And the other dressed in men’s clothes and instead of her husband went to repeat his ritual – greeting the mistress from the street at her estate.
10 out of 10
