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Myrl 2022-01-13 08:02:05
Love to the day that I can no longer love
The scene kept coming to mind. The young girl was standing on a steamer from Saigon to France. She was wearing a felt hat worn by Vietnamese men. She leaned on the railing, with tears in her eyes, looking at the black car on the shore. In the RV, there is the man she loves most in her life. They...
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Dell 2022-03-22 09:02:30
Tangled in the hustle and bustle of Saigon
Marguerite Duras, Marguerite Duras
L'Amant, lover
is almost terrible two words
Chinese win weak, French grief
entangled into Duras's "lover"
This is a Chinese man
rich, empty , thirsty for love
was educated in France, had seen the outside world
but was attached to his father's wealth and...
Lisa Faulkner
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Zita 2022-03-17 09:01:06
Every time I watch this movie, I want to go to Vietnam to see the Mekong River.
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Elouise 2022-03-22 09:02:30
I probably read other people's film reviews and knew that the male protagonist of the original work is relatively weak, but Tony Leung's acting was so good that he suppressed the feeling of cowardice. His acting skills are really good. From the first time he saw the heroine lighting a cigarette, his hands were shaking, to the heroine who didn't refuse him to get in the car and cigarettes normally, to lit cigarettes after the lingering, to unconsciously lighting cigarettes when faced with each other, every detail was revealed. His emotions changed.
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[last lines]
Narrator: Years after the war, after the marriages, the children, the divorces, the books, he had come to Paris with his wife. He had phoned her. He was intimidated; his voice trembled, and with the trembling it had found the accent of China again. He knew she'd begun writing books. He had also heard about the younger brother's death. He had been sad for her. And then he had no more to tell her. And then he told her - he had told her that it was as before, that he still loved her, that he would never stop loving her, that he would love her until his death.
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Narrator: "Now and then I go back to the house in Sadek. To the horror of the house in Sadek. It's an unbearable place. It's close to death. A place of violence of pain of despair, of dishonour... But it's in this family's dryness in it's incredible harshness that I am the most deeply assured in myself. In the deepest of my essential certainties, all common history of ruin and shame, of love and hate is in my flesh."
