Zu and Zhan only have Zu, it’s like the Cowherd and the Weaver Girl only have the Weaver Girl, the butter and the bread only have the butter, Adam and Eve only have Eve, how the survivors will tell the story of the two people is my biggest obsession imagination.
It is said that when this story was released in the United States in 1962, it was boycotted by Catholic weather protection groups, and any Catholics who do not obey the ban and insist on watching the film will be offended (sin). The part that is most inaccessible to decent adults is the month that the three of them lived together in a small village on the banks of the Rhine. The people in the village don't seem to reject them. The trio are cute and harmless three fools, a gratifying spice for boring rural life, and a reassuring bottom line. For the three of them, the cohabitation of that month was the last reflection of the golden years before the war. Those throbbing and perfect details are the source of power for Zhan to keep coming back in the future. Who would not want to have such a life, the husband and his daughter are chopping firewood and putting horses downstairs, and there will never be a worried look from the viewer, and you are upstairs and your lover cutting candles in the west window and reading an incomprehensible book. . No wonder the film is so popular with female audiences.
Truffaut was 29 when he directed his third feature film, and Pierre Roche, the original author of the book, was already an old man when he wrote it. So we can't judge that this is just a fictional dream. This is the thunderous words of an old man who has experienced vicissitudes of life. "I can't remember about that war. The only important thing in this life is love." The film was released. At that time, Katherine's prototype was still alive. After watching the movie, she said lightly, "Yes, I just want to shoot and kill Zhan." However, the director chose two people to go to Huangquan together because the truth was too terrifying. The way this ending is handled is brilliant, and the audience sitting in the dark will go through the emotional progression of hurt, excitement and sweet sadness, and finally be satisfied with the complex feelings a movie is supposed to give us.
For Chinese people, some elements in this film are difficult to understand, such as the friendship between Zu and Zhan, such as Catherine's magic, and some things we tacitly understand, such as the trauma of war and the beauty that cannot be returned. From the very beginning of the movie, the frequent jump cuts and breathless narrations are used to explain the acquaintance and getting along with the two people. The joy of finding a listener and a playmate who belongs to one person in the world finally appears is no worse than the sudden arrival of love. , they get along day and night, share their own languages, share their own lives, and even include their female companions. They write their stories into books without any hesitation, and they look openly and without hesitation, because those ordinary people are just envy.
The appearance of Catherine changed the living conditions of the brothers. Zu and Zhan's friendship is of course perfect, but all perfection ends up being mediocre, although Katherine "isn't particularly beautiful, not particularly smart, and certainly not particularly sincere, but she's a real woman, and she's the woman we love. , the woman that all men desire” (Zu), her appearance for the two of them is that their perfect life appears a little uncertain, that little danger excites their lives. After watching Strindberg's play, the three had a split of opinion, and without warning, Catherine jumped into the Seine at night, a jump that "hit Zu's heart like lightning." (Voiceover)
What is a deadly woman like? Baudelaire described the form of femme fatale through the mouth of the ancestors, "Women are not well-crafted, which makes them very annoying." "Little fool, little prostitute, very stupid, very depraved, terrible demon, action The killer", I couldn't help but raise the corners of my mouth when I translated this, this must be the voice of a man who has suffered a lot, and a man who yearns for such a woman. A woman's beauty should have a poetic connotation, and so-called poetry, obscured by its extreme intimacy, "I don't want to be understood" (Catherine). The lines she said in secret may be understood by some women, but men only think they are acting like a ghost. "You said to me, I love you. I said to you, wait. I was going to say: take me away. You said to me, go away." So you see, men and women are two kinds of out-of-sync everywhere Biology, there is no need to force understanding at all. All we need to do is just love. That charming, mysterious, vague, restless, banal kind of thing is what we need. Not to mention Catherine's pretty, contemptuous lips and look, what more could she ask for?
The war involuntarily changed everyone. Zu no longer smoked, he was obsessed with entomology, he used to keep saying how important his wife's chastity was in a marriage and he would send her to his lover for the night; Zhan shaved off his beard, and this reduction is like the length of a woman's skirt after the war Again, not because of modernity, but because economic conditions do not allow them to spend their spare money on mustache maintenance and careful demeanor maintenance; Catherine is no longer radiant, she even wears glasses, and then jumps into the river at this time and the rest I'm afraid it's just embarrassment, right? The First World War shattered European gentlemen and their spiritual homes. They were not convinced by the loss of perfect happiness and struggled in absurd and desolate places until they fell.
Catherine's voice has a certain unsettling magic, her way of dealing with her emotions is the non-stop "calling name", the nostalgic singing is prophetic, "On every finger she wore rings, Round her wrists" , bracelets and things, She sang in a voice all the while, That left my heart beguiled. Her eyes were like two opals bright, That gave me a thrill, gave me chill, Her face was like an opal white, As she moved in for the kill. As she moved in for the kill. We met, said adieu and then met anew, We lost touch and then we lost touch again, Once we did meet, For moments so sweet, Only to retreat. We went our own ways, In life's whirlpool of days, I saw her again in one evening's glow, It all seemed so long ago. It all seemed so long ago." I didn't want to translate this passage, she had already planned the ending. The person in love chooses to ignore it, but her sobriety is something every woman needs to learn, although it can be as extreme without killing the person she loves.
Truffaut once said, "When I started making a movie, I was thinking about how to be funny, but as I made it, I realized that only sadness, only sadness, can save this movie."
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