"Affair" is based on Patrick Marber's 1996 play of the same name (does anyone have a DVD of this stage play? Lend me :0). In "Affair", two men and two women meet in different times and spaces, and approach each other's lives, developing six kinds of relationships between people (Anna / Larry; Anna / Dan; Alice / Dan ; Alice / Larry; Anna / Alice; Larry / Dan). According to Patrick Marber, he believes that true honest relationships between people are only possible when people treat themselves. In the end, is there really a need for complete transparency in love? Or is moderate retention more conducive to the completion of love? Is honesty really that important to love? When we are dishonest with the person we love, does that mean we don't love the other person? How honest does it have to be to not deceive? Is it cheating to choose not to speak?
In the six relationships in "Affair", questions are constantly raised about the issues of "honesty and deceit", "innocence and sophistication", and the answers themselves may not be what Patrick Marber cares about. If we admit that the impulses of "sex" and "love" are human instincts, then we must also accept that "honesty" is just a moral trial planned by human conscience. Similarly, since "innocence" is the original nature of human beings, then Is "sophistication" just a way of life that is more suitable for survival?
In love, falling in love at first sight is relatively easy to happen, but it is difficult to end at the same time. But it can't be from the end without damaging the essence of love. Love itself should only be the existence of love. Love for responsibility is not in line with the foundation of human nature. In this way, the betrayal (affair) of love is not so sinful in essence, but if there is "deception" between the pull, it seems that it involves the issue of moral conscience. If, according to Patrick Marber, one can only be honest with oneself, then "deception" in love is almost inevitable.
The two heroines in "Cheating" are an interesting contrast.
Anna is a restrained, mature woman who understands the overall situation. After the photo exhibition, Anna and Dan secretly got together. The reason why Anna confessed to Larry the fact that she was having an affair was so that she could divorce him and be with Dan (without ruling out a conscientious rebuke). Later, in order to get a divorce, he agreed to Larry's request and had one last sexual relationship with him. However, the paper couldn't contain the fire. When faced with Dan's questioning, Anna chose to deny that she had ever slept with Larry at first, but she didn't tell the truth until she couldn't hide it. As a result, Dan walked away.
When the obvious opposition between love and dislike is forced to appear, when Favorite leaves angrily, at the back of the movie, we see Anna and Larry lying on the bed, and the director explained Anna's choice in a very homely way.
In Anna's love, whether it's "honest" or "concealment", they all focus on future happiness, whichever is the lesser of the two powers. Is this a calculation? If this is not calculation, what is?
As the betrayed Alice, she noticed Dan's affection for Anna in Anna's studio. When he deliberately forbade Dan and Anna to discuss the matter frankly, Alice suddenly turned her head and burst into tears. A full face, I think few people will not be moved by it. It is because the love is so real that the pain is so clear and direct. Alice chose to continue to live with Dan quietly, until Dan told the truth of the change of heart, even though she still loved this man deeply, Alice chose to leave. The fact of the breakup is finalized. Alice hangs in a strip bar to make a living, and then meets Larry, who is also betrayed and depressed by love. In the end, whether Alice and Larry went to bed or not, there is no clear explanation in the movie, but when Alice and Dan reunited, facing Dan's distrust, Alice knew that the situation was over, and cried and spat into Dan's face Said: I don't love you anymore. Then choose to leave. This time it went even further, back to New York, USA, leaving the name Alice in London.
Compared to Anna, Alice is the kind of person who is more straightforward. When honest people choose "honesty" or "concealment" in love, they pay more attention to the nature of things. When love has deteriorated, let go and leave, there is absolutely no room for compromise.
In this movie, the role of Alice is an eye-catching presence. When Anna, Larry, and Dan each make the greatest calculations for their own gains and losses, only Alice can take a good and serious cry for the loss of love.
Larry repeatedly asked Alice's real name in the strip bar box, but the too smart and scheming mistakenly thought that innocence was a better strategy. After the daughter disappeared, he still felt that the other party was not honest. When the tonality between people is too far apart, even simple questions can lead to misunderstandings. In the end, our belief or not, all comes from how deeply we are suspicious of others, not the facts themselves.
Whether you can be honest in love is one question, and whether you can be honest with yourself is another question. If Alice is not innocent enough to only want the nature of love, she is free and easy to let go no matter how reluctant she is in love. Lost love, but preserved a complete self. This may be the reason why most of the people who have watched "Affair" prefer the role of Alice. The reason is similar to Lin Daiyu who likes the dream of Red Mansions. After all, in the cloud of the mundane world, there are only a few people who can maintain their authenticity.
In love, there are often serious dramas, and the general perception seems to be that women are more likely to play such tricks. But in "Affair", the constant questioning becomes a male. The two male protagonists in the play are always asking questions based on their possessiveness towards women's bodies. Larry asks where Anna and Dan have sex? How to do it? Is it better than me? Dan pressed on if Anna was sleeping with Larry? Ask if Alice and Larry did it? Men's self-esteem makes them keep asking questions, but they may not be able to afford the facts. The broken mirror can be re-rounded, but it is enough to smash the mirror again by following the crack and asking for the source of the crack.
It is better to keep "innocence" in human affairs, but it doesn't seem to have much to do with it; in love, "honesty" is important, but it doesn't seem to hinder the completion of love. Sophisticated people will say that in order to take care of the overall situation, dishonesty and innocence are just a means of transition. But you and I both know that what you want to do, how you want to do it, and how you should do it is all a matter of personal choice.
However, some things will not change, and that is that we must be responsible for our choices. Our choices often represent the personality and values that we embody. This is indisputable.
------------------------------------
It is also about the betrayal and intrigue in love, which is expressed more deeply and more thrillingly in "Love Final Point". If you like "Cheating Love", you can also go and find "Love Final Point". If you are a Woody Allen fan, you can't miss this book that looks very unlike Woody Allen at first glance. film.
The love deduced in "Love Breaking Point" has all the basic elements of love: temptation, attraction, ambiguity, sweetness, passion, suspicion, struggle, greed, derailment, betrayal, choice, deception, and what's more, conspiracy A quiet slaughter.
The movie starts with the tennis term "march point" in the first place. In tennis, you can win the game by only one point. If the ball hits the net accidentally, it will lead to two very different results in the game. If the ball falls forward, you win the game, and if the ball falls backward, you lose. drop the game. It's not about talent, it's not about confidence, it's not about all the hard work, it's all about luck.
The male protagonist Chris Weedon was originally just a tennis coach with nothing. By chance, he met Tom, a son of an aristocratic family, and then married Tom's sister Kerry. Seeing the smooth sailing life is about to unfold, Chris falls in love with Tom's fiancee Nora, and a bloody storm begins.
When faced with the attack of desire, I think more people would rather choose to drink poison to quench their thirst than just forget about plums to quench their thirst. The problem is that mortals do not have the willpower to resist their own desires. If we use the magnifying glass of psychology to examine the fascination and deviation of the hero Chris towards Nora, we have to admit that Jose Ortega Gassett's analysis of men's love psychology may have some truth. "If we see that the lover's will (note: the author refers to "willing to love") is very active, "shows his consideration", and finds some "high-sounding" reason, he may not love or love a little less; This is often a sure sign that he is not really in love. Such souls often find themselves vaguely attracted to another person, but not really uprooted—it just means that the man isn't really in love. (Please refer to "Love", translated by Wang Guimei, Exactly Publishing House, January 2001.)
Chris was really attracted to Nora, but maybe he didn't love enough to be "really uprooted" to do such a horrific thing. The emergence of responsibility in love does not rely on external morality or internal conscience, but more because of love itself, which makes people involuntarily want to pay and sacrifice. Whether the balance of giving and taking can be balanced is not an issue Woody Allen cares about. What Woody Allen cares more about is, when love and reality conflict, where will the human will go?
Standing behind the male protagonist is like a glimpse of a wall, and there is no way to retreat, but the desire comes so fiercely, the best way is to stand with your back to it, as for what to do and what to do. Woody Allen has to be sharp and pessimistic enough to point directly at the cruel reality: conscience gnaws at people's hearts, but it doesn't stop the flood of desire.
Is human nature ugly? It's not only embarrassing, but the plot twists in the second half hour. We are even more surprised to see that the most creepy part is not just the bloody killing, but the appearance of people who have come back to reality when love comes to the end. When we see Nora, who is beautiful and sexy, insists on ideals for her career, and starts to be hysterical and aggressive for the child in her womb and a paper marriage, it should all be related.
When love comes, everything is beautiful; when love is gone, if one party is still entangled, it will turn into a disgusting snot on the hand, and I want to get rid of it quickly. No matter how rare a woman is, she will eventually return to the consideration of real life, rice, oil and salt. Men and women in the secular world, no one is superior to the other, but they want different things. Some people want love, some people want status, some people want money, and some people want everything. But if you want it, you have to bear the consequences. At the beginning, the thunder and the fire were out of control. How should we end the incident?
Woody Allen does not say anything, sharply and accurately let us see that luck is the key to everything. People with strong intentions may not be able to achieve success, and those who commit crimes may not be rewarded with evil. We have no way of knowing whether the bad morals will bring a sense of guilt to those whose conscience has not yet been wiped out, but after the film, the male protagonist stands solemnly in front of the window amid the sound of joy. I think it is more to give the viewer some comfort. , You see, this wicked man will be punished by his conscience all his life. But is it really so?
Whether the male protagonist deserves what he deserves depends on whether the audience cares about fairness or not, but in the real world, we have to admit that more often the bad guy will not have retribution, but will be the one who has the benefit, and he may not feel guilty. .
"Love Breaking Point" talks about the importance of "luck" in life, and it is nothing more than paying attention to whether the hero deserves it or not, but the horror that pervades the whole movie still comes from the ugly side of love itself.
View more about Closer reviews
