I finally picked up my mood and finished watching this literary film. The beginning seems to follow the restrained mood of British literary and artistic films and is somewhat dull, forcing myself to look down, and only after half an hour did I start to indulge in it, and I especially wanted to read the original book "Scars of the Long Day" again. Similar reminds me of watching "Love in the Time of Cholera" during my winter vacation. Coincidentally, the male protagonists in it have restrained their good feelings for a long period of time.
After all, Ishiguro still has the traditional repressive and negative elements in Japanese literature. Even though the story takes place in England, as a loyal butler, Stevenson has a bit of a Japanese Bushido spirit. Just as the cherry blossoms do not love the branches, and the samurai do not love life, Stevenson's dedication to his duties allows him to restrain his inner grief when he knows the news of his father's death, so that he can continue to complete the work in the meeting in an orderly manner, and it also allows him to calmly restrain himself. Emotions towards the housekeeper.
However, he has obeyed the gentleman's dogma for a lifetime, but he has never obeyed his own heart once.
The film tells the memory of an old British housekeeper's life of forbearance and restraint. As a gentleman, all Stevenson has to do is to do his own job conscientiously and maintain his dignity in front of his master without being humble or arrogant, and for these, he has lost too much.
But if the film is simply viewed as a retrospective, it is too thin. It also contained Stevenson's inviolable belief in himself—the professional dignity of an English housekeeper—but beyond the awe-inspiring that the word "faith" alone could explain.
This is a big tradition in the context of a big history, rather than the life of a small person, love and hatred.
In the stage of human birth and death, joys and sorrows, like the moon in the sky, are temporarily full and yet lacking.
Stevenson met Keaton. The difference of opinion led to a conflict between the two, but the friction of the conflict produced a spark of love. Stevenson's ruthlessness made Keaton's first love like this. end".
I think what he loves more is her freedom and obedience to her heart, her heart that is as fiery as fire. When she said frankly that she was a coward, maybe his heart would be like an electric shock. She faced her own heart, but what about him?
In the end, the war was lost, the original owner was lonely, the manor was given to the Yankee who had hated the most, and Keaton was also "the boss married as someone else's wife". Everything he had tried to maintain had collapsed.
But even so, in the end, the two met again after a long time, and Stevenson failed to unlock the lock that had locked his heart, making this meeting the best and the last. meet.
That day, the day of the end of the journey, Stevenson bid farewell to his deepest emotions. From now on, no more lovesickness, lovesickness and Junjue.
His life is uncertain. I don’t know what the next life will be like, but in this life, our fate can only come here.
"We'll never meet again."
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