Why is it called "June & Harry"? It should be called "Annie & her boy/girl friends" (I don't know if anyone has the same feeling as me that the film is very similar to Anna's Spring Dream).
It's clearly about Annie's solo journey - from the very beginning.
Ever since she discovered the secret in the hotel bookcase, she felt like a window had been opened. She, a married young woman, is like a little girl who is ignorant of the world, and plunged into this world of love - you can't say that she is indulgent, because she doesn't even know what desire is, so she was pushed down passively three times Never made a sound. She initially put herself in the position of an apprentice for the course, and anyone but her husband could be a teacher, and she was open to anyone.
This passivity continued until J's departure. The three-person dinner - it could be said to be a two-person dinner, the husband is an outsider, and he is only patting for a turbulent love affair - Ann's eyes at Henry are simply proclaiming sovereignty. "I kissed her," she said, staring at Henry. After finishing speaking, she went to dance on the dance floor, she was no longer an apprentice Anna, she looked straight at the person in front of her, and looked at the imaginary enemy with the eyes of a man (she had already confessed to her husband when she first met J, and she wanted to become a man for him) , and what is quite interesting is that this imaginary enemy also responded to her with the eyes of an unscrupulous man, a man who only has prey in his eyes. And then there was Ann's new awakening - she thought she liked this J, but she didn't. It is not so much that she likes hallucinations and is keen to explore Human'mind, but rather that she lingers in this love field. This, a man taught her how to fish, was stolen by her and used on another man. This is because she has become passive, or waiting can no longer restrain her desire.
Cousin has always been a good gentleman in this play. He's far more normal than many others, but in the movie he's not normal. It's obvious that Anna's indulgence is a good thing for him, and he has loved Anna since he was a child, but he pointed out that Anna can't get any growth she hoped in this game, it's just indulgence, just indulgence. . Of course, if someone takes this film as the awakening of female consciousness, then his reaction can also be interpreted as his nature is not liberated, and the moralism in his body is at work - but after all, he made the right choice under his values and did not succumb to Desire, in the role of pointing out the problem—this is amazing, especially when tempted. People are easily deceived in groups because the risk is reduced. Even if punished, the name of the group will be used as the subject of the crime, and the loss of the individual is limited. In this case, people's moral bottom line will drop again and again, and the desires previously suppressed by morality will surface. Playing a righteous character in an incest story, if not too stupid, we can only think that he has amazing willpower.
And his weight is very light after all, and the story cannot have any turning point here. The performance behind the heroine, that is, the performance of the days before J came back, although it is not reflected in the movie, we can also imagine that it must be extremely and more rambunctious - imagine her, we will think of the "man" in Murakami's writings. As soon as you see her, you will rape her; just look at her, and you will not want to push her to the ground and untie her belt.” The image of a woman. Murakami's interpretation of the woman was vague, saying that there was a problem with the water in her body. But we all know that the body's signals are just reflections of what's going on in our minds. When people want to rape you, it's presumably you're giving that signal more or less, especially if it's not an individual case. As for Anna's repeated "I feel innocent" and "I feel so pure" over and over again, we can't expect this woman to have the slightest introspection, she's even hypnotizing herself.
Regarding Henry, I am reluctant to interpret him in a positive way. I don't even think he loves anyone. He secretly coaxes people but always has a purpose, for money and sex. And his raw manly manipulativeness, which the movie shows many times, is even more irritating (Ann looks away when she compares his size to her husband).
The last scene of the movie defines all these affairs as "the journey before becoming a woman", which is believed to be inexplicable to many people. If you fuck too much, you will become a real woman? Ann's confession here may be meaningless. The need for the scene echoes her first encounter with the editor of the publishing house. Anna no longer hesitated, even though she looked like she was about to cry, she wasn't any weaker than before. She can finally face up to the cry of her body as a woman, and no longer need to seek answers from others. that is it.
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