Two themes emerge from the narrative development of the story: questioning (perhaps inappropriately but I can't think of the right word for now) and reunion.
"Interrogation" is Christopher and Pooh's journey to find each other and takes place in the first half of the film. First, Vinny in the forest kept reminding Christopher, "But you are Christopher Robin," and asked him intermittently: is the work box important, what is in the work box, which is more important, the work box or the balloon, the work box and Madeleine which is more important. In times of crisis, Pooh never stops believing that he is the almighty Christopher who can do anything. But Christopher kept denying himself that he was not the omnipotent version of himself that he lied about back then. Pooh tries very hard to bring back the "omnipotent" and happy Christopher. But it disappeared because of Christopher's irritability.
At this time, Christopher met other companions in the forest when he was looking for Pooh, and no one like Pooh could recognize him or believe that he was Christopher. At this time, he has become the one who wants to defeat the monster and prove that he is Christopher Robin.
However, it was a small fragment, showing Christopher Robin's blind following and lost in the universal value of society as an adult. The whole movie is about reunion. The first half is Christopher reuniting Pooh and his friends, and the second half is Pooh and friends bringing Christopher's lost family back to him in London.
The story of this film is a very symbolic adult fairy tale, so the application of symbols is also frequent:
Pooh is the eternal essence of Christopher's life; the red balloon is the guide of happiness; the monster in the forest is the image of Christopher's changing values.
In addition, on the ideological side, Christopher's "Doing Nothing" thinking is similar in essence to the Chinese Taoist Lao Tzu's "doing nothing and doing everything".
Christopher lived in London after the war as an adult. London has always been a very special space, both in reality and in literature, especially contemporary London.
Recently, I was reading a new collection of essays, and the preface in it was well written:
"As the origin of the modern city, London can certainly satisfy your desires easily. The old age is still hard work; the public transport, the multi-ethnic live in a class-defining area, the etiquette, the sense of distance, the most cosmopolitan Language, never-ending cultural life—seemingly encompassing and connecting everything, well-tamed vegetation, parks, and public spaces emerge in time when people are tired and heartbroken, and graffiti daggers through these neatly Occasionally revealed in the arrangement, faithfully playing a dissonant..." - Wu Qi, editor-in-chief of Wu Qi, Contemporary English Literature Special: The City Has Nothing, p. ii
There is also a quote from Henry James describing London:
"All of England is equivalent to the suburbs of London... It may be bad for the country, but it is the creation of an insatiable city. If anyone is a hopeless, cheeky Londoner, it's that he has to watch It's justifiable to broaden people's urban consciousness. Thanks to the huge transportation network, thanks to the people's active and hospitable customs, thanks to the high-quality railway services and the frequency and speed of trains, finally, Of course it must be mentioned that thanks to the fact that many of England's most beautiful landscapes are within fifty miles of London, London lovers have a picturesque idyll on their doorstep, and can take centre stage The infinite blurring of the line with the fringes has greatly contributed to the urban consciousness of those who love London.” — Henry James, editor-in-chief of Wu Qi, Contemporary English Literature Special: The City Has Nothing, pp. iii-iv
The description of this paragraph is vividly displayed in Christopher after he became an adult and married.
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