I recently revisited the first and second part of the Sex and the City film, and probably I have become a married woman and have more experience with the film.
In terms of thematic performance, dramatic conflict and narrative pacing, the second part is really hard to pass. The difference in the depth of the plot between the first and second films makes me think that they can even be classified into different genres: one is a classic urban romance movie, and the other is a real-life love drama (làn).
The first part, which can be said to be the only one, describes singleness or compromise, from love to marriage, derailment after marriage, from adoption to pregnancy. Between friendships, in addition to homosexuality and the small sidelines of escaping the big city, the big theme is forgiveness, such as Carrie's forgiveness for Big who was running away, Miranda's forgiveness for cheating Steve, and Carrie's unintentional "killing" of Miranda. "The forgiveness of her wedding. In the past, I only paid attention to the relationship of the protagonist, but now I replay it. What moved me the most was when Miranda weighed the faults of both parties in the marriage, hesitated whether to accept the advice of the marriage counselor, and went to the appointment regardless of previous suspicions, when she looked in the mirror. When he had milk foam on his middle lip, he thought of Steve, he cared so much about her feelings, so when he made her angry, he would send sorry email, sorry voicemail, sorry card, sorry flowers to ask for her forgiveness. Even as a professional lawyer who adheres to the principle, Miranda, when rationally measuring each other's faults in their marriage, found that in fact, her shortcomings are not less than Steve, but he still loves her, it can be said that she loves him far more. So, she no longer struggled, and rekindled her hope for love. So, two people who love each other, two people who have made mistakes in love, kiss on the Brooklyn Bridge as they did when they fell in love. together. The seven-year itch after marriage, the reality of firewood, rice, oil and salt, is only fleeting when the light of love reappears.
In the 20's, I envied the various labels in Carrie's cloakroom;
At 25's, I was deeply attracted by the twists and turns of the love history between Carrie and Big;
As I approach my thirties, I would prefer to be like Charlette, with a family with a partner and children, and "happy everyday, not all day, but everyday"; but ideally, Samantha is independent, complete, and self-contained. Personality attracts me more.
What Samantha said to Smith: "I love you, but I love me more." In order to pursue a more complete self, she gave up Smith and financial tycoon Richard who truly loved her. She is not the kind of complacency for love Man, she understands that that kind of love will only make her lose herself slowly, so in the face of marriage and independence, she chooses the latter; in the face of love and sex, she chooses sex. To sex, she is a slut, a slut who dares to face her inner desires and enjoy it, a slut who is dedicated to her work, responsible to her friends, and has a good time when she finds a partner who fits her. Among the SATC four, she doesn't have the sentimental and wobbly minds of Carrie, but she doesn't care too much about principles like Miranda, and she doesn't worship marriage and family like Char. In the first movie, in order to get Carrie out of the haze, she decided to accompany her on the honeymoon. She was considerate and decisive in line with her eldest sister image; in addition, the separation from Smith was not tedious. Fortunately, Smith loved her and respected her choice. Coupled with Sam's strong personality, it will not be filmed as the ending of tears of men hating women.
However, the fashionable, egoistic, open, and powerful Samantha Jones who came out of the first TV series and movie version, only the character of openness is left in the second part, plus the trouble of menopause and the need to take hormones constantly, it is conceivable However, for such Samantha and the so-called "New Middle East", only conflicts do not end well. When she was surrounded by a group of Middle Eastern men in white robes, hormones and hot flashes made her lose her 52 years and the sanity and grace of a senior New York PR, wearing yellow shorts and a red vest, she held a Using condoms sent out the roar of the most open woman to the most conservative religion and secular world. The way of handling drama contradictions is too rigid and abrupt. Conflicts are for the sake of conflict. At that moment, she is like a clown in the crowd, as the screenwriter wishes. , my favorite characters in the play collapsed at that moment.
And Carrie, her way of dealing with feelings is still as naive and impulsive;
Because meeting an old love on the other side of the earth is fate for her (what about the fate that fate arranged for you, Big? Because he deserves a cuckold in New York, half a world away from you?);
The two had an electric kiss after eating and drinking, so she turned around in guilt, rushed back to the hotel and called her sisters urgently, hoping that they would understand her and exempt her after listening to her confession. Several old sisters have to sacrifice the time before bedtime to talk about themselves and put on a mask to listen to her little things;
She ended up calling Big on the principle of "we have no secrets with each other", so why can't she wait until she gets back to New York to talk face-to-face? If you don't have the ability to do it, what will happen to Aiden?
Indeed, Carrie is not Charlotte, she can be a keeper of a family and marriage; she is not Samantha, she can go as far as she says. Her character has always been indecisive, trapped in love, and suffers from princess disease in love, but in the first part, even if Big ran a marriage and made her a joke in the fashion circle, she still saw clearly that it was herself The excessive yearning for marriage and the high-profile sense of ceremony made Big, who had been married twice, unbearable. In order to express his love for Carrie, Big, who is not good at this, almost sent her the love letters of the famous people in the book. In the end, the two of them reconciled simply registered at the city hall and got married, and Carrie was not wearing the same clothes. Wedding dress by Vivienne Westwood. In this ending, there is no Label (Carrie shoe control, the pair of blue Louboutine is for two people to reconcile, Carrie agreed to the existence of Big's proposal), no Diamond, no guest, "just us two", this is what I think has gone through trials and tribulations , the most beautiful ending for two people who have gone through half a hundred lives to be married.
And in the second part, because Carrie had a hot head and kissed her old love, Big bought her a big diamond ring? Ha ha.
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