The whole point of this drama is to play the mystery. But you guessed it right—behind the veil of mystery lies unreasonableness.
For example, the Pope used prayer to make the bad nun violently die. One bishop said that this was an expression of faith—because the Pope could have used administrative means to fire the bad nun, but he chose to go to God to kill her. . . What kind of divine logic is this? I really want to ask: For those problems that cannot be solved by administrative means, such as the problem of water pollution, what does the Pope plan to do?
Later, a paragraph simply said: Ordinary people cannot understand the thoughts of saints. This, so compiled, is too bottom line.
It's time to talk about the drama's strengths: fast rhythm, delicate lines, artistic pictures, and beautiful music. Whenever the plot is in difficulty, the director will resort to these magic weapons, say a thought-provoking sentence, accompanied by heart-warming music, the audience will be in an unconscious trance, and a new plot has begun.
Therefore, the play is still worth watching to see how the director floats through the difficulties beautifully.
The branch characters and stories in the play are also good, and it can be seen that the screenwriter has put his heart into it.
My favorite is Uncle Voielle, the failed conspiratorial secretary of state. He later fell in love with Sister Mary, and in the sunset they were sitting side by side in the African wilderness, he went to shake her hand, she moved it away, but her expression was gentle. Is there a more healing scene than this?
The protagonist never likes it. A lot of people thought he had a style, but I was put off by his narcissistic personality disorder. Playing handsome must be balanced by strength. His strength is displayed too late and lacks convincing. As for the psychological trauma, it seems extraordinarily naive in the contrast of his warm boyfriend ANDREW.
Hate this character, would rewatch it without him.
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