The film begins with a close-up shot of a woman looking in a mirror, a woman wearing a black cloth with her back to the audience, who can only glimpse from the palm-sized mirror: piercing eyes, paper-white skin, beautiful His face was a little haggard. In the noisy voice-over, the chirping of seagulls is natural but harsh. After a shout at the beginning, the picture turned into a panoramic shot of the studio, a scene of reality and illusion, and the interplay of time and space began.
Sarah was wearing a black cloth on her head and dressed in black clothes, which merged with the surrounding gray sky and the dim world, and a feeling of depression and depression emerged spontaneously. When Sarah stood on that stormy and precarious pier, the small character seemed to be overwhelmed by the wind and rain at any time. Helpless, desperate, but stubbornly standing there, Sarah, is like Santiago in "The Old Man and the Sea". Therefore, when Charles stood behind him and stared at her affectionately, in that gray town, the gloomy weather, the strong wind and the bad waves beat on the narrow and dangerous breakwater, the distance between the two people was vividly depicted. . In front of them, not only the bad weather, but also the strict hierarchy of the Victorian era, the ridicule on the cusp of public opinion, and the so-called moral ethics that bind humanity all the time.
But fortunately, there will always be a reward for the efforts. Sarah and Charles have experienced incomprehensible hardships and passed through the shackles of the world, and their lovers will finally be married. In the face of love, all the monsters and monsters, the mountains of swords and the sea of fire, can't help Sarah's breathtaking, soul-piercing Mu Ran looking back, Charles' psychological defense seemed to be instantly penetrated by lightning, and he fell in love with Sarah out of control. . Sarah's soul-sucking eyes cannot be found in the secular world. It is sweet sake, clear and intoxicating. Everything in the world looks childish and ridiculous in those firm eyes. The power of love is infinitely magnified, so All obstacles and shackles collapsed inadvertently. Love conquers everything!
"The French Lieutenant's Woman" is about this mysterious Sarah, who uses a black dress to isolate worldly oppression and ridicule, looks at the seaside to express her yearning for freedom, her obsession with love, and uses her own silence to resist chattering. Public opinion challenges the dogma and precepts that shackle human nature with the character of daring to love and dare to hate. A woman who is different from that era, like Charlotte Bronte's "Jane Eyre", independent and desperate. Therefore, at the end of the film, Sarah and Charles shared a small boat, leisurely crossed the dark, narrow bridge, and sailed to the calm, bright and sunny lake. After the wind and rain, the lovers finally passed through the nightmare tunnel of society and soul, ushered in their own spring, and the lovers finally became dependents.
However, in the real world, Anna who plays Sarah is not the Sarah who is willing to sacrifice everything for love, even in the feudal and conservative Victorian era. In a contemporary age where reason is supreme and freedom, Anna couldn't break free from those seemingly strong and solid shackles, and chose to escape in embarrassment. The last time Anna saw herself in the mirror was not the Sarah who looked in the mirror in "The French Lieutenant's Woman". She did not dare to face this sanctimonious world. The mirror echoes before and after, making the contrast of the characters more vivid, and the structure of the film has been completed.
Director Carol Reitz, with this symmetrical image structure, through the contrast of emotional choices in two different time and space, reflects a rather modern irony, and at the same time uses modern consciousness to deconstruct the story of the Victorian era. . The structure of the story within the film transforms the modern perspective and the thrill of past stories into a beautifully structured symmetry. But in the set structure, a profound confusion about who I am also deeply affects Michael, who plays Charles. Therefore, when Mike looked at Anna's disappearing figure and called out Sarah, the gap between reality and fiction disappeared, but the mutual transformation of roles also added some absurd colors to the love in reality.
Love as if you were never hurt.
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