The relationship between the characters and the plot development of "Philadelphia Story" is actually not complicated. The scene may be lengthy, but the dialogue is humorous and witty, and the ending is an unexpected comedy ending, and the appearance of the characters has some characteristics and principles of the drama. The heroine Cui Qian is undoubtedly the center of the whole story, and the three lines that extend from her are the former Fudette, the fiance businessman George, and the almost confused poor journalist Connie. At the beginning of the story, it is full of jokes that Dieter was driven out of the mansion where they lived together after being married by the indifferent and arrogant Trish. Dieter was carrying a large suitcase, and his belongings were thrown from the house one by one. After coming out, Trish even broke Dieter's favorite golf club, but was staggered by Dieter's push. In Catherine’s superb performance, the iron-green face, frowning eyebrows, frowning and frowning, I think, I saw it, at this moment, Cui Qian will definitely feel that she is lucky enough to get rid of this nightmare-like Unhappy marriage.
When Cui Qian was so dizzy for her second wedding, it was already two years later, and at this time, her ex-husband Dieter, who had so much disliked her, was still swaying in front of her very ignorantly. Bringing the all-pervasive reporter Connie, maybe Trish is looking forward to seeing her fiancé George at this moment. In the luxurious living room of Cui Qian's house, she was as graceful and luxurious as the empress, dealing with Connie without spilling water. It's hard to say how good she is, that is, she doesn't have time to listen to the so-called humor and ambition that Connie talks about, she also sees through Connie's cynicism, and is tired of Connie's intentional or unintentional hand-in-hand. She spoke cleverly, took the initiative in the interview, and pretended to miss the camera that Connie had taken so hard to photograph, and she couldn't help expressing a bit of pride.
Under this circumstance, Cui Qian's image is already a little more three-dimensional: she is the kind of girl who came from a famous family: beautiful, there is no doubt; pride, you can see her attitude towards Dieter. This kind of girl we generally guess is beautiful, passionate, proud, and noble, and that's probably it. However, even if Cui Qian chose George, who was born from a humble background and had an average family background, and has not learned how to ride horses as an upper-class pastime, as her fiance, it does not mean that she does not discriminate against such low-level people. It’s just that this kind of discrimination is not shown in her words or expressions, but stems from her "nobleness." Ni’s behavior is the same. She was even a little complacent. And she may not have noticed it.
However, Cui Qian is not such a simple negative image. After learning in the library that the novel she was intoxicated was written by the cynical Connie, she was moved by Connie’s frankness. She wanted to help him, but her passionate behavior was declined. In this way, she was not angry. The moment she raised her head and looked at Connie, her eyes showed admiration, admiration, and perhaps some unspeakable emotions (but it was definitely not love). Catherine grasped this delicate and subtle emotion perfectly.
However Dieter-this is the image I admire most in this play, even if the appreciation is not as good as Rick ("Bourgge/Casablanca"), but he is indeed a very charismatic character, compared to noble and arrogant Trish, the grumbling Connie, and the outburst of ignorance George are indeed worthy of praise. His eyes are very unique-Dieter's appearance at this time has triggered the conflict between him and Trish-and this kind of confrontation is this. It is the most exciting part of the film, and this scene is like the vivid interpretation of Brad and Scarlett Scarlett ("Gone with the Wind") under Clark Gable and Vivien Leigh. It is very worthy of taste and consideration, and it can reflect the charm of the characters especially It's the charm of female characters-Cui Qian's good mood disappeared and she broke up. At this time, George, who loved and admired her, refused to accompany Trish to indulge in fun. Dieter’s accusation and George’s refusal caused Trish to fall into a subtle mood. She was so drunk that she turned aside George, who had hurt herself to her, and Connie was in the moonlight and on the lakeshore. Dancing beside. Connie's sincere compliments temporarily soothed Cui Qian's wounds. The two forgot everything. The moonlight is just right.
We can now roughly sort out Trish’s feelings towards Dieter, George, and Connie: she and Dieter’s family background is roughly the same, and they seem to have grown up with each other. They understand their family members and know each other’s personalities, even more so. There was a life between marriages. However, when her excellence overwhelmed countless people, her radiance shone into the lives of George and Connie. She became the goddess who dared not climb high in the hearts of those two people. Admire her, and Dieter—and only Dieter who still treats her with cynicism, Trish, how can she bear it? She can be said to be so unbelievable. And George, the director didn’t pay much attention to it, but he chose to let this matter pass by the chaos he treated Trish’s wedding eve afterwards. It can be seen that he really loves Trish, and his love does not need to be degraded to some people’s eyes. The low level of "for money and profit, for family status and prestige" is worthy of his love even in unpleasant people; and Trish naturally treats George with affection, otherwise how arrogant like she would be She promised this wedding not to show that she did not mind the difference in family status or to demonstrate to the former Fudite, but that she could feel that she had gotten satisfaction and happiness from George. But these are not enough. Cui Qian is not a silly girl who is obsessed with love. She also looks forward to the exchange of literature and the height of the soul, and there is no relationship between George and George. On the contrary, when Connie’s words shake Trish, we should realize that this kind of ideological resonance that does not require verbal expression exists between Connie and Trish, but how much have they got along with each other? Have you ever fallen in love? No. When Trish walked out of the ivory tower constructed by words and returned to reality, when they experienced a night that shouldn’t exist, these were just two strangers who didn’t have much understanding and knowledge of each other. Connie treated Trish both. Worship also has disdain (his disdain may be due to the differences in the identities of the two people), how contradictory, and Cui Qian, that kind of intoxication has gradually faded just after walking out of the library, especially in At this moment, only embarrassment.
The dazzling sunlight awakened Cui Qian, she was incoherent and confused, and Dieter treated her naturally as before, appeared in front of her, and became a shoulder Cui Qian could rely on. Dieter, who guessed the truth from Connie’s lost watch, had the kind of clarity in his gaze, so that Cui Qian, who was sitting in front of him, could also understand that the heart-to-heart communication at this moment, even if the cause was so embarrassing. , It is enough to make people sigh their mutual understanding. She grabbed his hand and burst into tears. Such a warm moment reminded them of the sweet marriage and the cruise ship, the cruise ship named "Zhen Ai". When Trish was full of thoughts about her next marriage, when Dieter no longer hesitated to step forward and hug Trish tightly, Trish closed her eyes. This time, she is not a goddess who is worshipped. Not a respected empress, she is a very ordinary woman, her only extraordinary is that she has found her true love. Once she understood that she was also a woman in need of love, she walked off the altar, took off the crown, and walked happily beside Dieter.
I always feel that emotion is not the focus of the director’s focus. He just wants every woman to understand that women should not exist as gods, and that she should also be a person with affection and love (oriental goddess, modern strong women, women). Doctors and female men chaotically entered in my mind), the beauty of women does not lie in "distance".
The classic romantic love movies sometimes bring us more than just an emotional fit between the hero and heroine, and even the director is not talking about love, but tells us something from the perspective of love. This kind of thing is far better than Love will last forever, because when we are immersed in love, we can actually feel the greater disappointment and sorrow. This disappointment and sorrow are for our current life, because the emotion is tenth One or two have never reappeared in us, even in the people around us, people around us, and familiar strangers, let alone transcendence. I have heard such a sentence, there is actually no real lingering love in this world, whether it is in novels, TV or movies, it is nothing more than conjecture. It's like, in "Casablanca", I was really overwhelmed by Rick's deep affection, but in fact, more of the love for this film is the power of faith, which stems from the three people who are in the center of the love triangle. The "for the sake of the world's immortality" and "for the lives of millions of people" they have shown are for the things that are more worthy of tears. I also love the love between Rhett and Scarlett, but what this film brings to the American people may be the feelings of the homeland from the Civil War, but it brings me more of imperfection in character. The resulting perfection is arrogant and even a little irresponsible, but his cynicism is hard not to impress people; and Scarlett is rare to have some good places to be praised. , Her selfishness, seduce the brother of the rival in love, snatched the fiancé of the sister, did everything unbearable for money, but she is beautiful and intelligent, arrogant and strong, selfish and greedy, and dare to love and hate the female image, I am fascinated by her vivid vitality. They are all perfect characters created by what I call imperfect personality. As for Eliza, played by Leo Drey Hepburn in "Fall Ladies", her love with Higgins may have been a point of my concern, but these are not more than the moments when Higgins taught Eliza her language. Or after the final transformation of Eliza’s character from an ugly duckling to a white swan, the appearance of her lady and her inner self, soul and body—the awakening of personal dignity—choose to leave to maintain My ego can't make me care more than these. Because the former is culture and the latter is thought, these are far beyond my focus on love.
It's not too far. So, as far as George Cook’s "Philadelphia Story" is in my perspective, Trish and Dieter’s romantic remarriage, but what I remember is always the moment she closed her eyes, it was her to herself With a new self-recognition, she no longer portrays herself as a noble queen and holy goddess, but truly realizes her value and emotions, and she treats herself as a flesh and blood person. I think the director thinks so too.
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