The old man wears the halo of participating in the "Prague Spring". He also used this as a motive to write many famous works that were recognized by the world and were dubbed as introspection, irony, and pan-politicization. All this is coveted by Chinese intellectuals. It can be known that the spring breeze of reform has been blowing for 30 years. Chinese intellectuals are still in the categories of remnants of the Cultural Revolution, tragic and uninteresting, and kitsch and naive. Or form a circle for self-entertainment and play a game titled self-inheritance. The cynic windbreaker has been on the body for many years, and the truth is not as clear as what a few talkers and high school graduates said.
Back to movies. Basically, the movie doesn't have much connection to the spirit of the original novel. From my own short-sighted point of view, those obscure metaphors interspersed in the plot of the novel are indeed difficult to express in the language of the camera lens. The director also seems to have wisely weakened or simply avoided these analogous situations when connecting with the spirit of the original work. After all, fiction is something that emerges from dialogue with hundreds of doubts and contradictions. A film that focuses on the plot should still maintain the necessary smoothness and refinement in the narrative. In addition, I originally imagined that there should be more salty and wet sex. Unexpectedly, it is full of gentleness (I don't know if it has become a castrated version after the introduction. I read it after translation).
In a word, this is a romantic film that can understand the beginning and end clearly. Not tepid, not arrogant or dry. It also gives you a bright and ideal view of love, telling you that falling in love with a handsome girl with firm emotions can also be a great cause to beautify your life.
View more about The Unbearable Lightness of Being reviews
