My breath became long after eating and sleeping, and the film gradually became blurred and beautiful in my eyes, like my gradually relaxed consciousness.…
After hearing Caitlin sing that song, I understood why Zu didn't hate her. French women, especially Parisian women, are dangerous and charming, free and beautiful, and French is indeed the most suitable language for love. Listening to the narration and dialogue in the film with a brain that is confused by drugs, I am confused by this kind of text that is not clear, I don’t know the end, but it does not lose its beauty, I am confused by the beauty of Parisian women, I am confused by the beauty of language, but I am not confused by the beauty of the language. This kind of love is blurry. The love in Paris is too free. It is not suitable for Germans who want to get married and live in peace, and it should not be suitable for me who lacks a sense of security. Caitlin’s actions are independent and unruly, and are cruel to Zu and Zhan. But the madness of Zu Yu Zhan Ai makes me a spectator who can't hate her, because her beauty is so objective, so real, with a free atmosphere, not dirty, not sloppy, fiery and flamboyant.
This film is a classic work by French New Wave director François Truffaut. It is of great significance and far-reaching influence in the development of French New Wave films. When we evaluate a work now, the most fundamental thing is to evaluate the art itself, because Ideological things are of the times, just like "Zu and Zhan", according to the current film production standards, it is crude and the story is weak, but in that era, "Zu and Zhan" did use new shooting methods, The narrative method gave the film industry of that era new possibilities for film development. We cannot completely deny its technical roughness by our standards under the current technical conditions, but the artistry of the film itself cannot be ignored.
The film explores women's rights, love, war, triangular relationships, and friendship. In Europe, where male power was still dominant at the time, Caitlin, who had feminist ideas and was free and unruly, was doomed to tragedy. Truffaut was very insightful about triangular relationships. , which is also reflected in the later work "Dream of Paris", and the endings are all devastating, short and fiery.
"Caitlin, I like the back of your neck the most, the only part where you can't see me looking at you"
"Zhan, don't leave tomorrow, she will have you all her life, give me one more week"
"Are you in pain?"
"I don't, because I never want, two people are in pain at the same time, when you are no longer in pain, I will be in pain"
The two of them were silent in that dark hotel, and they accepted the one-off ending, as if they were buried after death.…
Just like the love letters in the cannon fire, the more fiery they are written, how can you expect love to become life? At this point, Zinzu is much smarter... Love is always with life and death, Caitlin is like love itself.
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