When searching for "Soulbroken Venice", various introductions and evaluations are always linked to terms such as "male version of Lolita" and "same-sex love". I must admit that while watching the movie, I couldn't help but think of the well-known "Lolita", which is equally beautiful, young, vivid, and also named "The Seducer". But I don't like it so closely with the word homosexuality, I want to respect the madness, infatuation, moths to the flame, even the willingness to burn life, that the novels and movies present as artworks that combine beauty and vitality With the soul, just to take a few steps closer and take a few more glances. I always believe that no matter what era, there will always be such crazy artists. I don't want to spend a lot of energy and pen and ink to introduce how professional the director is, how advanced the music is throughout the film, and how delicate the actors' performances are. I am not a professional film critic who understands movies so well, and I can only watch others eloquently analyze the movement of the camera, the selection of music, the language of the camera, and the imagery, and give praise and applause. I just want to record the most intuitive shock and profoundness of being an ordinary person. I can't say how much I like this movie. In my opinion, this is the shooting method of traditional old movies. It is long, gray, and slow. It is not easy for this impetuous society to appreciate such a form. And when I accept that I am a layman, I can feel the most intuitive beauty with peace of mind. The whole film is deducing the world in the eyes of the composer and the male lead and the changes in his mood, all of which serve the change of the male lead's mood. Diving into this perspective, I saw the finished art of the beauty of men in ancient Greece, I saw the most vivid appearance of life, I saw how the ultimate beauty and decay fit, I saw the nourishment of life by absorbing life. The delicate beauty of how good and how evil. There seems to be compassion in his eyes, he doesn't need to do anything, just exists, which is the greatest gift and baptism, and how can the existence that gives light to the soul and decaying life not the best? The biggest difference between the film and the novel is that the American teenager Tacchio in the novel is so innocent, while the film presents a hazy and vague temptation. They didn't say a word in the whole film. The most recent moment was when the male protagonist, as the elder among the guests, stroked Tacchio's hair with trembling hands with the most pious and awe. But from the perspective of the male protagonist, Tacchio will return a look and an expression when he is watching and following, and it is alms that is even more tempting, and will use the most appropriate sculptural gesture when he is struggling the most. In front of him, he showed the sweet nobility and temptation of a young man. Tacchio was his savior, the most beautiful flower of life in the cholera spread, a decaying Venice, a part of his decaying and vanishing life. Segment back light back light. So Tacchio also became his guide to death and the abyss, just like the death of a certain beautiful boy in Western history. My favorite part in the film is that the male protagonist runs off to dye his black hair, paint his eyebrows, apply grease and powder, and put on a new suit. The joy of the man, he ran to find his god in a self-improved appearance, and the moment he saw the young man, he was instantly torn off that ridiculous layer of disguise, and he didn't dare to take a step forward, look, He was still the clown covered in mud, and his powdered face became even more absurd and ugly. This is a momentary change of extreme hope and eternal despair for life and life. Look, there is no good result in the extreme, but the extreme is definitely the most perfect art. The male protagonist finally died in Venice. He saw the young man who was still untainted by any ugliness and decadence at the last moment of his life happily playing with his friends, and he seemed to be a sailor who was introduced into the deep sea by the siren step by step. However, he still likes it, and this siren doesn't even need a deliberate temptation song. His existence itself is all sin and temptation. The male protagonist has completed a unilateral and most perfect Plato, burning his last life to achieve a piece of art. And if it only ends at the end of the movie, maybe I will just be addicted to the appearance of the American boy in the film for a while, or go to another perspective, just like interpreting Lolita, feel sorry for the innocence of the boy, all the so-called temptations To put it bluntly, it is nothing but the self-rationalization of the addict's artistic processing and moral transgression. However, when I was looking for relevant information, I saw the life summary of Tacchio's actor Bern Anderson, which seemed to complement the experience and emotions of the beautiful boy left blank in the film, so the ancient Greek image and perfect interpretation of "beauty is the original sin" "The combination of story and life has made me the most beautiful boy in the world that I can never forget. Bourne lost his father and mother as a child. Before acting in this film, he was always beautiful without knowing it. The film made him successful, but it also completely subverted his life. Maybe it was the director's lover's slander and slander out of jealousy, maybe it was the accusation of seducing the elders who was plainly accused of seducing the elders, or maybe it was the intoxicated and ugly temptation who faced the adult world when the worldview was formed. Maybe it was just because A film and beauty suffered endless harassment by homosexuals. In short, we saw a most beautiful victim. He began to suffer for beauty and film. He tried to cut off all ties with "the world's most beautiful boy". He quit the film industry, in order to Survival tried all kinds of jobs, trying to get back the music he loves, but in the meantime encountered the separation of his wife and children, and as long as he appeared in the In front of the public, people are still trying to find out the shadow of the "world's first beautiful boy" who even established the image of the Japanese manga handsome boy. After most of his life, he seems to have finally let go, started to reconcile with that experience, and started his own life, and my search, as long as he said that he didn't regret acting in this movie, was enough. In fact, I don't want to take the initiative to find the more detailed life trajectory and pictures and video materials of Bourne himself after that time, let alone his current life that is synchronized with my time. Artwork needs to be stripped from the reality of chicken feathers. It's open. All I need is that frozen 15-year-old image of Tacchio and some icy, flamboyant summaries of Byrne's life experience that best interprets "beauty is sin". I was once entangled in whether the world's most beautiful boy I loved was Tacchio or Bourne, and finally found that it was just such a simple combination, in fact, it was neither. In fact, I think that at the beginning, the world would be able to separate the eternal beautiful youth from the actors who were not delicate, senile, and dejected, and would not have created such a tragedy, but only lost a layer of tragic storytelling, then this beauty is also It is not so vivid and profound, and it is deeply fascinating. I think this is the best ending. The spectator gets the most beautiful art, and he himself finally has a new life.
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