Students who have never watched a movie can stop at the dividing line. The following is a retelling of some details that impressed me, full spoilers.
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At the beginning of the movie, accompanied by the soothing piano sound, a quiet lake and house appeared on the screen. At this time, there was no ripple on the water. Then the wind gradually rises, a bicycle is blown down by the wind, making a clanging sound, and the tranquil atmosphere created by the opening of the film is broken at this moment, which implies that the protagonist's dull and boring marriage will change. Although this is a metaphor often used by many directors, it has to be admitted that it is simple and pleasing. Connie said indifferently in the room: What a big wind. This is the first line of the movie. Of course, she doesn't know how much the wind will have on her life. The tree wants to be quiet but the wind does not stop. In this play, the wind can also be regarded as a symbol of destiny. Connie was "like being knocked down by a bullet" (Paul Martier said to her in the wind), lost in the wind of fate.
On the street where Connie met Paul Martier, the lens was full of gloomy tones, gray streets, and gray old houses. Martial told her that I live upstairs and there are green plants at the door. That's right, a young and handsome French man with long brown hair, an irresistible smile, and a vigorous body. Such an encounter is tantamount to a throbbing green symbolizing life in the gloomy setting, so Connie turned her head back. Glancing at the empty taxi passing behind her, fate opened two doors for her at this moment, but she followed Martial into the building without hesitation, and one of them slammed shut.
Entering the building, Marty angrily kicked the malfunctioning elevator. This kick was not casually. It was this elevator that trapped Connie’s husband Edward in the later plot, rendering the tension alive. The inability to add to it really made me sweat.
Connie went to the bathroom to treat the wound, and her alertness to strangers made her double-check whether the door was locked. Then we saw her turn on the water pipe—Martier was flushing the teacup—the burning pain of the band-aid on the wound—the flame of Martier burning tea, switching beautifully. In the meantime, Connie put her foot on the toilet, and the toilet seat was not lowered. At the beginning of the movie, Connie asked her son to put down the toilet seat after urinating. At this time, he didn't care to help this informal French man put it down. After that, Matil's sudden intimacy (putting ice cubes on her wound) made Connie uneasy. Before leaving, Matil asked her to take away a book-wine, let people regain youth; wine, rose ,Carpe Diem. For a middle-aged woman, this is a naked tease.
The next day, when Connie was at home looking through the book Martyr gave her, she dropped a business card of Martyr with his phone number printed on it. Connie, who originally thought she would no longer have a relationship with this strange man, was shaken. We saw her look back with a guilty conscience-of course she knew that there was no one else in the house, but she would instinctively do this when she was pregnant with a ghost. Action-the pet dog is looking at her.
She called Martial at the subway station, dropped coins, hung up the phone, refunded the coin, hesitated and dropped the coin again, made up her mind to dial, no one answered, regretted that she was relieved and ready to hang up the phone, but the call was connected. Connie who was caught off guard said awkwardly, hello. The camera switches between the hand and face in the key parts of the action, smoothly and coherently, and the character's psychology is fully revealed. Martial invited her to his residence for coffee. Connie glanced at the coffee cup she was holding, then put it on the phone, and smiled and agreed.
When he arrived at Martyr's residence, Martyr helped Connie take off his coat, and the camera shot his fingers lightly across Connie's neck. Then Martial brought Connie coffee, which was originally a plot that didn't need to be performed, but the director let the hot coffee make Martial at a loss. The meaning here is also very simple. One is to imply that Martier's attention is not on the coffee, and the other is that the boiling coffee is like the turbulent emotions under the seemingly calm appearance of the two now.
After a brief flirtation between the two of them, Connie hurriedly left with guilt. In order to obtain a little psychological relief, she bought a gift for Edward and delivered it to his office in person. The plot was reasonable and reasonable. Bipi is indeed a universal truth.
However, Connie, who was overwhelmed by lust, finally couldn't restrain herself and ran to see Martial again, and had a relationship with him. This process is presented by the memories of Connie on the train going home after the fact. This arrangement is quite delicate. It not only strengthens and exaggerates the pleasure of their friendship, but also makes her memorable afterwards, and more vividly shows the middle-aged mature woman’s experience. Mensao nature. This part is the most classic part of the film. Diane's performance is very powerful, instantly killing all the "love action movies" I have seen. It's no wonder that Connie was flushed just thinking about it, and it was difficult to breathe and was too wet. In fact, we were all wet.
After that, Connie officially began to associate with Martier. The director handled it like this. In a piano sound, Connie's life with her family and clips of her affair with Martier were alternately screened. We know that derailed people always believe that they can control the whole situation at the beginning, and they can do a good job between family and selfish desires to achieve a balance-often in the first period of time. The director’s move expresses this mentality and state.
However, the husband Edward still found the clue. Although he knew Connie was deceiving him, he still chose to remain silent before fully clarifying the matter. This setting is necessary. First of all, this reflects the man’s forbearing character. This is The key to the continuation of the film is that if he is a hot person and tears his face with Connie at this time, the next development of the plot and the final result cannot be established. Secondly, it also indicates that this is the final calm before the dramatic conflict will break out.
One day, Connie met two friends downstairs at Matil's house. During the conversation, a friend who had had an affair warned her as a past person, and this kind of thing will eventually end in tragedy. Needless to say this setting.
Next, Edward finally launched the final investigation, but Connie began to be condemned by her conscience. She was in a trance while cooking, making a mess, charred chicken nuggets, overcooked water, and the same effect as before. At this time Edward’s performance became more forbearing and calm. This was the same as Connie’s initial affair with Connie’s initial joy, and Edward was afraid to detect that something was wrong (he once asked Connie if she did something wrong, and asked Kang Whether Ni loves him or not) is in sharp contrast, indicating that the exchange of roles between the two has begun. Edward will replace Connie as the protagonist in the next plot, and will also be involved in the wheel of fortune. In this paragraph of Edward's lines, there are hidden keywords in his heart to protect the family: loyalty and responsibility.
Connie forgot to pick up her son from school after stealing joy, and finally touched her moral bottom line-the film also put a lot of effort in portraying her child, because the child is the key element of Connie’s psychological changes, and Connie feels owed The first is the child, not Edward. Eventually, after discovering that Matir was more than her lover, she chose to terminate the relationship with Matir. And just after she left Matir's residence for the last time, Edward walked in.
Then came the climax of the film. Edward had a positive contact with Matil. One was a forbearing and calm middle-aged man, the other was a young and robust young man; the other was the pain of his wife’s betrayal, and the other was visited by his lover’s husband. The invisible contest has been going on in the conversation between the two people. The director and the actor have made the perfect balance, until Edward sees the fuse crystal ball. Losing control only tore the suffocating balance. All the conflicts broke out in an instant, which made me feel thrilled when I was outside.
After the murder, Edward heard Connie's breakup message to Marty. People sighed when they looked straight. Then Edward and Connie hugged at the school to watch the children’s performance. When the camera focused on their two sad but happy faces, it made people feel sad. Why was Ben by his side? Happiness within reach, always has to experience so much right and wrong before people learn to give up and remember.
The disappearance of Matil and the discovery of his body have caused the police to come to Connie's house for investigation twice. Diane and Gere's performances in these two scenes are very exciting, I believe they have experience, needless to say.
The last two scenes touched me the most. When Connie opened the crystal ball and saw Edward's message, I finally couldn't help crying. Today in class the teacher talked about Frost's "The Road Not Taken":
yellow Two roads diverged in the woods,
sorry I could not travel both,
I stood a long time at that intersection,
I looked down one as far,
until It disappeared deep in the jungle.
But I chose another road.
It was lush and lonely, and it
looked more attractive and beautiful.
Although on these two small roads,
there were few traces of travelers.
Although the ground was full of fallen leaves that morning,
neither road was polluted by footprints.
Ah, leave a road and see you another day!
But I know that the path is endless,
I am afraid it will be difficult for me to return.
Many young people are in a certain place,
I will sigh softly and look back at the past:
two roads are divided in a wood-
and I chose the one with fewer people, which
has determined the path of my life from then on.
At that moment, I kept flashing Connie's long hair and messy hair flying in the wind with her skirts flying in the wind. Like you, I wish she would turn around and walk into the taxi and say thank you loudly to Martial. At this point in the movie, it is no longer about Connie’s story, but the empathy of each of us. If you can really turn back the clock, what would you choose? Will you be a little happier and happier than you are now? I remembered that Martial said to Connie the first time she saw her, hurry up and don't let the wind blow away. It turns out that the wind is still not destiny, it just blows you to the crossroads of destiny. It is up to you to decide which direction you will eventually go. However, the reason why life is so difficult lies in these unpredictable choices.
So, although we all want to know how Edward chose, the movie ended cruelly in a fixed-length lens. The last thing we saw was Edward and Connie’s car, quietly parked at the intersection in front of the police station. .
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