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Ed 2022-04-21 09:03:51
I've been eyeing the film "Elegy" for a while. The beauty plus the erotic movie itself is very attractive, and Lao Xu seems to have mentioned that watching this movie and crying. The beauties are indeed very fragrant, and the old man inside also finds it attractive enough. From the very beginning of the film, the old man has shown his possessiveness unspokenly. The relationship between the two people has developed smoothly from mutual attraction to mutual suspicion and worrying about gains and losses, to the inferiority complex of the old man who cannot face the promise. By an hour into the show, I felt like a lot had happened, and the movie could even end there. However, despite some shrewd words (such as "a man makes love with a woman as if he were taking revenge on everything in life that beat him"), the emotion I was looking forward to was still long overdue. Until the end, the heroine appeared again, hoping to relive the other party's appreciation of her body, hoping to retain her perfect youth. I am still moved. What is moved is not the loss of youth when a person is about to die, what is moved is that the bits and pieces between two people are often gone forever. There are so many moments we don't want to forget, but time often washes them away first.
Extended Reading
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George O'Hearn: Beautiful women are invisible.
David Kepesh: Invisible? What the hell does that mean? Invisible? They jump out at you. A beautiful woman, she stands out. She stands apart. You can't miss her.
George O'Hearn: But we never actually see the person. We see the beautiful shell. We're blocked by the beauty barrier. Yeah, we're so dazzled by the outside that we never make it inside.
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David Kepesh: I think it was Betty Davis who said old age is not for sissies. But it was Tolstoy who said the biggest surprise in a man's life is old age. Old age sneaks up on you, and the next thing you know you're asking yourself, I'm asking myself, why can't an old man act his real age? How is it possible for me to still be involved in the carnal aspects of the human comedy? Because, in my head, nothing has changed.