In fact, "June Flower" is in the American movie The world is of great significance. This is the first Nc-17 film in the history of American film, which is the beginning of the American restricted adult film. 1990 was actually not that far off. It may be that the speed of the film's neutral opening is too fast, so that in the face of this first one, it is a little indifferent.
Anais Ning in history is indeed a person. As a figure of the feminist movement in the third and fourth eras of the United States, she once said in her diary "Fire" that she could not refuse any love and was ready to spread her legs at any time. In the film, Anna, sitting next to her husband Hugo at the end, said, "I cry because I finally know that a woman's growth is a painful process." Henry behind him is turning right on a bicycle ; while her husband Hugo smiled in a different way.
I am very happy, because although the original English title of this film is called "Henry and Joan", the entry point of the film is Anna. In the film, Henry Miller's identity as a writer is downplayed. He's just a penniless pauper, a gangster writer roaming the Parisian neighborhoods. If he hadn't written "The Tropic of Cancer", he would have been called a womanizer forever. Reality is such a power eye.
But Anna felt that she grew up. A woman's growth does require experiencing the pursuit of sex, confusion and thinking. Body and emotion are inseparable, Plato is a gorgeous masturbation, and we are fragile like the morning dew, destined to hide in the sun. I haven't seen Henry's work, only that it was banned for years. Publishing in the United States has been banned, which shows how popular the content is. The legendary Henry is rough, sharp and unreasonable. Yes, it is. Otherwise, he may not have the ability to experience the two legendary women of Joan and Anna at the same time. When a writer leaves that unreliable reputation, let alone Henry's reputation after his death, he is not as hard as iron as imagined. On the contrary, it is a woman, and the pronoun of a woman is "live in the moment". Real empathy can be more convincing.
The film does not explain whether Joan returned to Henry in the end. She just desperately hoped that Henry could become the Dostoevsky in her mind. But even Dostoevsky failed to make his wife as stunning as Joan. If you were to ask me what attracted me to Joan the most, I would tell you, it was down and down. Anna is regal because she always has a banker husband behind her, and Joan has only one more down-to-earth man than him who has a reputation after death. But she is still so beautiful, and she pursues gorgeousness without hesitation. When she was carrying that puppet, I could even see the determination that penetrated time and space in her eyes.
And Anna is weak. Yes, although she is weak and lovely, it is sympathetic and pitiful. But she lacked the thrill of Joan. Her body and soul have never rejected any man. Her reliance is everywhere. When love comes, she seizes passion and life. So, I never put too much faith in feminist rhetoric. Feminism, first of all, has the right to speak because it has been more or less supported by men. If Anna has no money and no husband, can she walk as rock-solid as Joan? It's hard to say... But Anna has grown up after all, and at the same time she understands a balance between her husband, sex, and life. In other words, under the constraints of morality, she finally understood that under the halo of love, there will always be someone who will be hurt. She is happy, but there are always people who are unhappy.
If there is anything about the movie that I am not very satisfied with, I think I will be picky about Anna's husband, who plays Hugo. This guy seems a little heartless, looks like a stupid cuckold guy who doesn't know it. In my ideal, Hugo should be like this: calm, realistic, warm, but never speak. He should be a man like Ying Nian in Baby Anne's "Second and Three Things". Don't worry about everything, because you already have everything. This is the type of man I like.
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