-----Zhu Guangqian's "Talking about Beauty Letters"
Sarah undoubtedly belongs to nature. When she was in the natural forest, seaside, lakeside, I was impressed by this woman's agility and mysterious charm. And when she's indoors, she's repressed and reserved, even a little neurotic. This elf belongs only to nature, and is destined to give everything within its power for freedom. But in Victorian England this was not allowed, even tantamount to heresy, and people looked at the French lieutenant's woman with disdain and no sympathy. Only Charles, who braved the turbulent waves to run to the long embankment and said to the woman in black, "Miss, I'm worried about your safety..." The
woman turned around in surprise, a turn that was stronger than Ernestina's. The lady is too elegant. She blinked, then turned her head silently. And Charles, like everyone in front of the screen, disappeared in this breathtaking turn like a fog on the sea, lost in Sarah's sad and mysterious expression. Sarah has been standing on this long embankment for so long, only Charles braved the wind and waves to run over, and the people who were fooled did not know that this French lieutenant's woman was not waiting for the French lieutenant, that person did not exist at all, she It was the Charles in front of him who was waiting. Beauty has always existed only for those who know how to appreciate it.
"The French Lieutenant's Woman" is a very successful adaptation. Its layered structure, its ingenious transformation of modern and past time and space, its scene scheduling and compositional colors, and even its costume design are all first-class. The opening shot or two, in particular, shifts us from a rambunctious film set to the world of a French lieutenant woman. This ingenious design makes this old movie of the 80s remarkable today, and the director's ambition and ability can also be seen from here.
And the place that moved me the most was when Anna and Mike lay on the beach and recited their lines. With Anna on her back, she fell silent. She no longer spoke, but stared at the sea in the distance, her expression blurred and melancholy. Mike curiously asked Anna what was wrong, but Anna just looked at the sea in the distance and didn't answer, and Anna didn't need to answer. Afterwards, the French lieutenant's woman walked slowly along the winding path in the forest, looking at the same sea as Anna.
Is it Anna or Sarah who is walking towards us? Or is it Sarah or Meryl Streep herself who is walking towards us? I guess it's a question that only women can answer, as Anna in the film can't explain to Mike. This problem has persisted from the distant Victorian era to today, and only women can understand the reason for those ethereal thoughts and distant hopes without saying a word. The only one who can truly understand a woman is the woman herself. We often see two women who are rivals in love showing sympathy in each other's eyes, which is sad but touching. Like Lu Jie and Sang Qi in "Mystery of the Floating City", they can sit down and discuss their relationship with Qiao Yongzhao with tears. And two men who are rivals in love will only fight each other, and the winner must be determined.
Regarding this movie, some people resented that Sarah's fall was a pretense, some people kept asking Sarah why she made up the story of the French lieutenant, and some people must break the casserole and ask what Sarah did. for what purpose. I think it's better to walk slowly, to appreciate the mystery and even selfishness of this woman. What's the difference between such an in-depth questioning and Miss Ernestina's last frantic questioning, you must know that it was her actions that strengthened Charles' determination to leave her.
Regarding Sarah's true heart, my answer is Zheng Jun's lyrics, which is also my dream - my dream is true love and freedom.
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