I am very fortunate that I have read "The Adventures of Huckleberry Finn" and "The Adventures of Tom Sawyer" when I was a teenager. Together, these two works created an important genre of stories: in a thrilling but thrilling adventure, the young boy stepped onto the ladder of grown-ups. It is no exaggeration to say that the entire American youth literature and youth films are also derived from Mark Twain's "The Adventures of Huckleberry Finn".
"The Adventures of Huckleberry Finn" is one step closer than "The Adventures of Tom Sawyer". It is no longer a temptation of the world by two teenagers, but between a teenager and an adult, getting each other in the whole adventure Spiritual satisfaction, and finally realize the transformation of youth.
If you don't believe it, Spielberg's "Seven Treasures", "ET" and later "Artificial Intelligence" are all born out of this story prototype. In recent years, such films include "Made on the Mississippi" by Shinco actor Matthew McConaughey, "Stoke" by Nicole Kidman, and "Heather" by Yusuf. As for "Super 8", "Moonrise Kingdom", and "Wallflower Boy", maybe they are close to the spiritual core of "Tom Sawyer".
Of course, with the progress of the times, the interpretation of different movies is also different. The current era no longer emphasizes the pure adventure of the Spielberg format, but more digs into the inner changes of the teenagers, especially like playing with the dark elements. But the origin of its story type must be undisputed.
In this type of story, the protagonist (adventurous man) must lack the image of a father by his side. It is precisely because of this resetting that there is a foundation for the penetration and emotional survival of foreign adults. Psychology states that in the growth process of adolescents, their personality tends to approach the same-sex parent. When the image of the father is weak or even disappears, on the one hand, the boy will be psychologically defensive, and his performance often appears to be cowardly and introverted. For example, the protagonist has no choice of sports elements in hobbies; on the other hand, it will let the boy be The boy takes the role of the father and even the husband imperceptibly in life, even if it is not a behavioral manifestation, it will also be a psychological manifestation.
And this is the origin of the first paragraph of the film: due to the divorce of the parents, the custody of the mother belongs to the mother. Under this environment and background setting, there will be a slightly embarrassing plot in the film.
As a result, this film naturally leads to the discussion of Oedipus. The protagonist assumes part of the role of the father, and has an exceptional dependence and psychological compliance with the mother. In contrast, the protagonist shows the opposite sense of distance to the father with a cold attitude. After the appearance of Frank, the foreign character, first acquired maternal psychology into the family, and did not regard him as a hostile character. And this family lacking a male image just lacks the intervention of such a perfect stranger. Although the relationship between the two is a vague kidnapping relationship, in fact, the mother and the boy take the initiative to cater to outsiders. Therefore, the evaluation of this relationship is not It's too suitable to apply Stockholm syndrome to explain it.
But after Frank and his mother developed an ambiguous relationship, the protagonist obviously fell into a dilemma. On the one hand, he threatened his family status, especially affecting the (abnormal) parent-child relationship between mother and child; on the other hand, Frank's strong intervention seamlessly made up for all the missing roles of father and husband in the family. The roof can be built on the roof and the water can be drained, and the baseball player can make fruit pie outside. Frank, the outsider, is not only better than the protagonist himself, and is not satisfied with taking on the role of the family. He needs to transform and seize the family. He is a strong competitor in a stable environment.
As a result, the teenager has a face without joy and sorrow, and often shows more twisting. When this internal friction accumulates to a certain extent, there must be a catharsis.
So this is the mark of the little girlfriend's appearance.
In this kind of story, the little girlfriend will definitely be one rank higher than the boy psychologically. On the one hand, this is reality, and on the other hand, this is the need for the development of the story. Because the psychology and expression of adults is another world in the eyes of teenagers, only people of the same age can achieve effective (psychological) communication, and young girlfriends who are older and more developed (in most cases are rebellious). Girls, even more prominent their "precocious" degree), which can meet the psychological needs of boys growing up, but also can meet the physical needs of boys growing up.
The latter, in short, is the word "sex".
In the first half of the film, there is a plot in which the mother and the boy discuss love and affection. Under normal circumstances, sex education for adolescents is undertaken by same-sex parents, and in the absence of same-sex parents, this discussion and education will inevitably have an Oedipus color. In this episode, the mother bluntly stated that love is also caused by desire (desire). Therefore, in the film, after the boy heard that his mother was in bed with an outsider, he also completed his first intimate contact with his little girlfriend in the water in his own wet dream. In the end, it was only after the first kiss from the girl that the boy really let go of the knot in the competitive relationship with outsiders, which marked the end of the process of the boy's transformation into a man.
The Peach Pie is a purely sexual image ("American Pie" does not simply take Pie as its name, the process of making a Pie is the same as the pottery function in "Human Ghost"), accompanied by the trembling of the mother In the process of slow baking, it gradually becomes fuller, and only then has the emotional connection and attachment of adults arise.
Going back to the film itself, the choice of narrative perspective is very interesting. There are three main characters. Boys, mothers and outsiders, do they have more continuity by insisting on a boy’s single perspective, or a crossover of multiple perspectives is more complete? I believe they have different views. The stories of the outsiders in the film are all completed by flashbacks, and there are no images and sound prompts before and after. The intention is to create a feeling of time and space intersection, but it does not neglect the destruction of the story. Until the middle of the film, I still think that this film is not a simple "Huckleberry Finn" story, but has a further development. For example, the outsider and the mother met and fell in love when they were young, and even the outsider is the boy's true father. . This misunderstanding is largely misguided by the sudden flashback. In other words, the story of turning from a friend of a gunner to a true lover in just three days is even less credible to me than the two generations of suspense and dog-blooded grievances.
In the performance, the fat is not tepid, and Brolin still has a wooden face, which can be regarded as suitable for the character setting. The woodiness of the latter is simply outrageous in some shots. But the shots of this film are quite beautiful. Although there is a clear background in 1987, under the beautiful scenery of the town and the forest, the sense of history at this time is blurred, and more attention is paid to the characters and events themselves.
It is worth mentioning that because the director is quite talented Jason Reitman (I remember that he often confuses with the "middle class representative" comedy guy Jason Bateman, the name is Jason... and this man is also involved After Jason Reitman's "In the Clouds"......), the film still attracts many big and small stars to join. Apart from the starring Kate Winslet and Josh Brolin, and the adult protagonist Tobey Maguire (in recent years), there are many familiar faces in film and television circles.
The former agent of Coulson (now Chrysanthemum), who plays the ex-husband, plays the role of the ex-husband. The unobtrusive and non-acting skills plus this section of the cello stem of neta Coulson’s girlfriend is a seamless journey.
The newspaper boss of the old version of Spider-Man (like tongue twisters...) plays the kind neighbor. It's a pity that he didn't play against the old version of Spider-Man, and didn't shout.
Another familiar face in comedy. The Canadian ex-boyfriend who played Robin Scherbatsky (Sparkle) in "How I Met Your Mother" also showed up in the short-lived episode of the show "A Beautiful Era of Losing Friends".
This one doesn't know who it is (Tom Lipinski), but from the outline of the face and features to the expression, he looks very similar to the young version of Josh Brolin (of course he played the young version). It has been shown in "The Killer Believers" which declined in the second season. Although his performance in this film did not capture the character's return from the Vietnam War, 1. This is not an anti-war film (at least not the result of the performance), 2. His imitation of Brolin is higher than Brolin The degree of imitation of Tommy Lee Jones in "Men in Black 3". Of course, this is also because Brolin himself traveled all over the world with an expressionless and bitter face, and the difficulty of imitation was much lower.
Let's talk about Josh Brolin at the end. Since "Old Nowhere" came to life (to be honest, I only remember Grandpa Tommy Lee Jones and the pump killer Javier Baden), Comrade Brolin has taken a strange and repetitive route. On the one hand, the audience really likes to watch his face perform this kind of horns, on the other hand, his own page is really suitable for using this face to perform this kind of horns. But if you play too much, you will get bored, and watch too much, and get bored more easily.
Especially now that after the "Old Boy" that ruined my heart, I went to pick up Cliff Owen's facial paralysis in "Sin City".
Forget it, it can be regarded as printing the sentence: You always have to pay back when you come out.
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