When watching a movie, I think of Kim Ki-duk's early film "Drifting Room" and a Japanese movie "Mermaid" Ji", as well as Tian Yuan, and Faye Wong's "Reminiscence".
In this film, Kim Ki-duk continues to play with his hidden images, the sea of desire, the vast water surface is his favorite place, drifting in the room of desire, spring comes again, even time and bad boy are always gray water, the sun rises and the moon sets. The stories are concentrated in a small space, abandoning the complicated relationships in the thousands of worlds. It can even be simplified to the point where no one needs to have a given name. There is very little dialogue, and the heroine also does not need to speak.
The plot is very clear and clear. A lonely boat at sea, a grandfather and a girl, plan to raise them and get married at the age of seventeen, but the guests who come and go fishing on the boat always have bad intentions towards the girl. They wanted to take her back, but they were obstructed by the old man. In the end, the old man and the girl held a traditional Korean wedding and then threw themselves into the water. The girl went back by boat with the college student, but the big boat kept following behind. The girl said goodbye before sinking into the water.
After watching the movie and reading a lot of film reviews, I still don't think that the old man's love for the girl is male or female or contains some kind of sexual desire, is Electra complex or abnormal love. It was just an uneasy possessiveness. The girl was not his own, but picked up or abducted. This is not an unbreakable relationship, so some kind of connection must be established. If legal adoption is not possible, such a bond can only be established through marriage. That's why he jumped into the water to end his life after the wedding.
His heroine is the girl in the Samaritan girls who says I'm a bastard from now on, with dark eyes and sexy lips, exuding a raw, wet, wild beauty. His gestures and gestures are all natural, and any expression is extremely pure and extremely seductive. In her, the power of beauty is too straightforward and aimless, blurring and blending the morally defined distinction between virginity and charm. A mass of repressed natural desires is lurking in the depths, and there is no turbulence to be seen, and the surface is still clean and spotless - this is the realm and level of aesthetics that is most in line with the Orientals. It is also the most unmanageable.
When she pursed her lips and smiled, it always reminded me of the dialogue in Samaria: You are already dead, why do you still laugh. The smile seems to be eternal, the jet-black eyes are radiant, and the wrists are tied with various colored bands, dangling on the simple swing, and the feet slide into the water. On the opposite side is the old man holding the bow, betting her life as a fortune teller, and the arrows only shoot into the Buddha's pattern.
At the beginning of the film, the style is peaceful and lively. The girl has infinite trust in the old man. The huqin made of bow is pulled softly. The background music is the gentle sound of the piano. For molesters and malicious offenders, the old man and the girl trust each other and shoot the bow and arrow in their hands with certainty. There was also the bath the old man gave the girl every night. Her budding body squatted quietly in the basin. The sound of the water was pure and pure, and there was no entanglement of desires between them. A red cross on the wall calendar counted down each day to the end.
It wasn't until later when the young college student appeared, the harmony was broken, the old man forbade the girl to communicate with other men, and the girl rebelled until they sailed away. The old man put the rope around his neck as the boat sailed farther and tighter. The girl who was struggling this time stayed and married the old man. The arrangement was very clever here. The old man secretly drew a few more crosses on the calendar while the girl was asleep, and then simply tore off two of them. The wedding was held directly after the escape. This time, the young girl helped the old man wash his body, and then he was dressed with a smile, dressed in traditional dress, and completed the ceremony step by step.
The chickens that were thrown at the ceremony were symbolically tied with blue and red strips of cloth, and when their wedding boat sailed away, the helpless college students slapped the one representing the girl with a wry smile. On the wedding boat, after undressing each other, the girl in a white petticoat lay on the ground listening to the sound of the old man's piano and fell asleep peacefully. The old man used the bow as an arrow and shot it out with a bow.
At the end of the film, the old man threw himself into the sea, and the unmanned wedding boat sailed back to its original place. The girl moaned in her sleep, as if lusting after the gods, and copulating with the void, and then the violin bow that was shot pierced into the On the deck between her legs, the girl reached an orgasm at this time, and finally woke up with her eyes open, the virgin blood flowing out from her white skirt was like a scorching blooming flower.
The scene of the sinking of the ship is extremely beautiful. It is not as tragic and despairing as Titanic. It rowed into the bottom of the water with an elegant attitude and gradually disappeared. The swing, the Buddha statue, the side of the ship, the deck, the mast, the white sail, and finally no ripples appeared. , and the girl was wearing the flowery dress, sitting on the boat, waving her hands thoughtfully, smiling, as always.
Every time my so-called film review is written like a plot introduction, in fact, the plot of this kind of literary film is extremely simple.
Fortunately, this time the bow, Kim Ki-deok is still kind: "Strength and beauty are like tight bows, I wish to do so until the end of my life."
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