The first time the family sits together for dinner is when Tommy is just out of prison and Sam is about to go to the front lines in Afghanistan. Farewell to catch the wind by the way.
Before this scene, Tommy went to the hotel alone to take a shower - it should be a cold shower - the real world is cruel to him, and everything is so unsatisfactory.
Based on the footage of Tommy entering the door, we can guess that he also went to the flower shop to buy a bouquet of flowers for Grace.
After watching the movie and then looking back and thinking, I think the bath metaphor should be what Tommy really thinks in his heart, that the prodigal son will come back and come home clean.
Flowers are mixed with more complex emotions, in order to give Grace a good impression after being released from prison. Although he can't understand it any more, Grace has never really liked herself. A bunch of flowers It doesn't change anything. But he still does it because his love for Grace is more than family.
After returning home, the family was not happy because of his return, and everyone's attention was focused on the fact that his brother Sam was about to leave. During the meal, the father and son broke out once. The father in the play did not give Tommy any face at all, nor did he take into account his psychological feelings. What was Tommy thinking at this time? In this family, he may only love two people, brother and Grace, the former means warmth and the latter means beauty.
On the night when the news of his brother's death came back, Tommy drove back in his brother's car, and at the door, he and Grace had an argument, and the fire broke out. Because he couldn't bear the cold treatment of his family, and couldn't accept the family's concern for his inner world, maybe it was a little strange that Grace didn't understand herself.
After the funeral, Tommy and his father broke out for the second time. Tommy wanted to do something, but his military father was dismissive, and finally walked home stubbornly. In the eyes of the father, the dead eldest son is his pride, and the living younger son is his shame.
The subsequent development of the plot was very well-organized. Tommy tried everything he could to help Grace and play with his niece. This was the happiest part of his life in the play, and perhaps the best time of his life.
He finally felt that he was a useful person, someone needed him, and he could do what he could to help others—there was a saying that the only way to be happy is to help others—it was true.
One of the deepest scenes in the movie comes from Tommy's eyes as he talks to Grace after he sincerely regrets the woman he's hurt. I designed a series of subtexts with him. I think he must really want to tell Grace why he is a "bad boy" who likes to fight. He really wants to tell Grace what his childhood was like and what he is thinking about. What, of course, and his own love for her.
But he said nothing. In the end, a kiss made it all clear. (So, the director must understand a truth, "kiss" and "bed" are different, "kiss" is not necessarily the opening remarks of "bed".)
At least in this movie, the kiss represents a deeper level The love and the nostalgia that hurts into the skin, and if the "bed" is gone, it has nothing to do with feelings, and it will only be related to impulse and impulse punishment.
Brother is back. Tommy was left out again, and his heart was even more lost. At the airport, he walked behind alone, turned around silently, and followed home.
In the scene of heavy snowfall, the elder brother and younger brother were sitting on a chair and had a conversation. The elder brother doubted the younger brother. The younger brother did not explain much, but just lit another cigarette - it doesn't matter, loneliness can only be accompanied by loneliness.
And the Sam who is in front of the audience at this moment is already a different Sam, this is a broken Sam, a Sam who doubts everything, a Sam who is helpless in his heart.
Personally, I think the birthday party of my daughter MAGGIE is the climax of the play. What's different about this banquet is that all kinds of delicate relationships are on the verge of collapse, and an outsider has been added.
It was TINA who ultimately pushed all this forward. As an outsider, he did not understand that the family was at the cusp of the storm, and he did not understand the role and weight he was playing at the moment.
Let's look at the banquet members first:
three generations ,
two brothers,
two sisters,
two families
Compared to a small family, Tommy and TINAF are both outsiders, while compared to a large family, TINA is an outsider.
So the embarrassment of their roles is doomed.
confrontation.
The confrontation between TINA and his father, this confrontation is actually TINA saying what Tommy wanted to say but never said. If the object is replaced by a direct dialogue between Tommy and his father, the result can be imagined. In this family where the father occupies the absolute leadership tree, the son does not have much choice.
The confrontation between ISABELLA and his father, I think this is the director's clever reproduction of the childhood life of Sam and Tommy.
One gets everyone's attention and praise because she is smart, and the other wants to get attention, but her character and talent are at a disadvantage, so she has to deliberately do something out of the ordinary to attract the attention of the adult world. Helpless, he was "suppressed" by his father, and finally he had to express his "choice" in anger and reckless, so as to tell everyone what he yearned for.
TINA's lines:
...
TINA: Everyone is a different dad.
TINA: Everyone needs protection.
TINA: Everyone should have someone who listens to him.
TINA: They're marines, but they're still human...I don't think anyone should be trained to kill.
TINA: WHY? I think they're trained to use causal weapons---
TINA: But no one should be trained to watch people die. It's that wrong feeling.
...
Everything that seems to be the strongest in this family has been subverted at this moment. This should be seen as TINA's endorsement for the director. What the director wants to say is nothing more than this!
Then all that needs to be done is rebuild, rebuild with love.
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