There are three marriage/love relationships in this film, most notably the contrasting couples, Mimi and Oscar, Nigel and Fiona, and a hidden view of marriage - having a small Daughter of Indians.
The story of Mimi and Oscar is the extreme of erotic entanglement. They love each other like crazy, have sex, and develop from sexual abuse games to double mutual abuse of mind and body. In fact, from the moment Oscar described that he had reached the climax of his sexual desire in life, they unknowingly slipped into a bottomless abyss, which is not so much the broadening of sexual horizons, but more like a sign of madness after the fusion of love and desire. : When love has the upper hand, ml is a beautiful blend of water and milk; when love has the upper hand, the feelings begin to degenerate into possession, abuse, and stimulation. But this can't be counted as a devaluation or a setback, on the contrary it is an inevitable result, as Oscar said, they can no longer find the same passion from others. They changed from a couple to two poor people sitting on the same broken boat. There is no other ending than sinking together. They look around and there is no one to save them. After all, not every relationship can go this way. So far, so deep, so out of control.
Nigel and Fiona's relationship has actually come to an end, but they're the exact opposite. If Mimi and Oscar sailed from Europe to South America, then Nigel and Fiona's relationship is like it's not in the water, and it's almost dry, I think it's a good adjective. Nigel is politely indifferent to Fiona, and Fiona is almost lost in order to embed herself in the identity of his wife.
However, no matter what kind of love, men lose interest earlier, and they are not willing to give up the entire forest for one tree, but in contrast, Oscar is more honest and straightforward. Disdain to give excuses. At the dining table, he took off Nigel's disguise directly, and he was not ashamed to tell how relieved he felt after getting rid of Mimi. However, in the end, he didn't understand the mentality of women. The man was eager to break free after being entangled in his relationship. He thought that Mimi would figure it out like him, and thanked him. But Mimi would rather lie on the ground and kiss his feet, let him be humiliated, abort the child, cut off the uterus, maim him, than leave him. Women are scary, aren't they? After a woman falls into a crazy love, there is a kind of irrational persistence. The mountain has no edge, the heaven and the earth are together, the river is exhausted, the winter thunder shakes, and the summer rains and snows. An oath can be made to pieces, and a person can keep it until the sea is dead. It's a pity that the sexy stunners of the year were paid as a hateful burden.
When Mimi returned to Oscar, crippling Oscar for life, and the two finally got married again, the movie was back on track, because Polanski was never kind to people, he knew too much about entanglement and control, How can such a pair of men and women forget each other in the rivers and lakes, watching them have nowhere to go with their legs disabled, and a soul that has lost their souls, and they continue to torture each other until they are destroyed. The sad and ridiculous thing is that you can't blame Oscar's ruthlessness, and you can't despise Mimi's persistence. At this point, people are like animals, and they can only do this stupid thing with instinct.
Nigel has always been a symbolic existence. Although he is the audience's perspective, running through the story and leading us into the love affair between Mimi and Oscar, his disguise is so lame that it doesn't even need to be thought-provoking. Compared with the hazy and contagious dialogues of other characters, Nigel seems very blunt, boring and childish every time he changes the topic. The audience, like Mimi, Oscar, and Fiona, can easily pierce him and see through him. By contrast, Fiona's eventual transformation stole most of the limelight, giving the couple far more weight in the overall story. Fiona's forbearance is an inevitable emotional responsibility as a woman and a wife. After all, women always choose to hug a tree willingly and have nothing else to do, but just like Mimi, they disappeared without any exchange with men. relationship improvement. The director used Oscar's mouth to inspire us very early, and Fiona has untapped potential, so the part where the twins dance at the end is inevitable.
There are few clues in the film as to exactly when Fiona began engaging with Mimi and Oscar. But there are a few subtle hints that Mimi and Fiona are already interested in each other. When they first met, Mimi bluntly praised Fiona for her beauty; when they met again at the dinner table, the audience was attracted by how the husband and wife dealt with Oscar, but upon closer inspection, Fiona had been quietly watching Mimi. There is no doubt that Fiona and Mimi Oscar also have contacts that the audience does not know, but whether she knows the story of the two is unknown.
An Indian with a young daughter is a contrast between these two "unhealthy" relationships. He first explains that travel in India can never be peaceful, and then he points out that children are more important to marriage than any travel. At the end of the film, his youngest daughter Nigel and Fiona's blessings for the New Year are one of the few warm moments in the film. But what about after the warmth? It is still a stormy and sinister sea, and the inevitable ending song makes people's mood fall into gloom and doubts again.
No matter whether you love deeply or not, love always has to be exhausted in different ways. In the end, one of them has to withdraw and leave, and the other is striving for perfection, creating a dead knot that cannot be solved. This conclusion is suitable for men and women, and it is suitable for all love. Or, the two sides conceive children and transform love into multiple bonds of family, economy and society; or, control possessiveness and allow the other party to cheat intermittently; or, wait for the nominal relationship and live an irrelevant life. However, these are all unloving choices. What if you keep in love? What if love is so indistinguishable from desire and stimulation that it is tightly entangled? The living people never have an answer, any breakup, it's just that they don't love like that.
Among the four leading actors, Coyote, who plays Oscar, is undoubtedly the best. The movie world didn't know much about it, and I don't know how Roman Polanski found this American uncle. At the age of 50, he appeared in the British French In a European literary and artistic film full of people, it is amazing to fall in love with a Frenchman in Paris.
Although ks is the main character, except for a set of shots on the dance floor at the end, the other parts are soy sauce, but they are still amazing. Thanks to her experience of living and performing in both countries at the same time, KS has both the cold and forbidding beauty of British women and the delicate and elegant beauty of French women.
Hugh Grant is admirable. On the one hand, his appearance, temperament and all the usual small movements in acting are very suitable for this role; but on the other hand, there is no sense of existence in Polanski's film. It is not far from "Morris". Although the roles are very different, Uncle Hugh's performance has hardly changed, and the upper limit can be seen back then.
The director's wife, Senier, has seen four of her films so far, but this one is an earlier film, which feels very strange. In the film, she hardly has the innocent side of Mimi, but only shows maturity and sexiness, and there is a strange clumsiness in her sexiness, which may be a problem of body and posture. Her interpretation of Mimi has almost no sense of hierarchy, and it is too weak compared to Oscar. As a film based on the charm of a woman, it is very important to find a woman who has this kind of charm in 360 degrees, such as "Lolita", such as "The Beautiful Legend of Sicily", the audience will also have a sense of identity, but this film I have been trying to convince myself that "Oscar is addicted to Mimi, Oscar is addicted to Mimi", this It was nothing short of a disaster. In contrast, it is still more wonderful in recent years. For example, the charm and control in "Venus in Furs" made me kneel in front of her like the male protagonist, and she was shamefully tied to that symbol of lust. Therefore, it is an eternal truth to say that people's self-confidence and cultivation will become more and more obvious as they age. For a young and beautiful body, the body will sink; but with a person who is sexy and confident inside and out, there can be a real spiritual harmony.
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