Every character in the film has her unique little space. They are hovering on the edge of collapse, or have been stagnated at a certain moment in the past; sometimes they need to be reborn by breaking this small space, sometimes they grow with that small space, and sometimes they are embedded there and no longer exist. A new life is possible.
Aiwen
Aiwen is a man. He connects the people in the movie.
The appearance of Aiwen is also accompanied by one of the most beautiful lens sets in the film: a frozen Aiwen letter, which says how he loves Pepa, but still embarks on a journey to Stockholm with another woman. Then there was a smooth sway, past the alarm clock, past the photos of the two, past Pepa’s purple buttocks, past her beautiful hair. At this time, it was folded into a courtyard-like stone wall, and the colorful picture suddenly changed to black and white. Zooming out, we saw a close-up of a man whose mouth was sprayed twice with a clear mouthwash.
Switching to the middle shot, he took out the microphone, but we saw that the microphone was not connected to the wire. He just held it in his hand, like a dream scene. As a result, the women in the classic stories appeared one after another, and he walked forward confidently, the women surrounded him, he was talking love, and only the last street girl who relied on the traffic light also replied.
The traffic lights became the lights in the recording studio. It's a close-up again, this time in color, his lips pressed against the microphone. He is fighting for guaranteed love from women. Finally, the movie screen played in the recording studio showed a countdown clock, and in reality, many colorful alarm clocks of different sizes in Fippa’s home were also ticking.
This is a lens set interspersed with reality and fantasy. Aiwen’s letter reveals his state of mind unabashedly : He needs the guarantee of women’s love for him . He constantly needs it, just like a child who has not been weaned and needs many women. He needs women to treat him the same way. Say. Afterwards, from Iwen’s space to the real and their common space, they briefly stayed in Pepa’s desire space (the body wrapped in purple pajamas, and later when Pepa was alone in the studio, the curtain in the background It’s the same purple), and fell into Aiwen’s world again: here, he is a son of all kinds of styles, and both domestic and foreign women accept his dedication-this is not only a hint of his work as a voice actor , It is also a portrayal of his fantasy . Finally, when I came to the real recording studio, the close-up changed from the " mouth " in the black and white passage to the " lip ", and the desire was fulfilled . The resonance of clocks broke the separation between reality and film, while the excessive number of clocks in Fipa’s house concealed her anxious sense of time, as if a period of time with too dense emotions has passed, and now she falls asleep deeply, so she transitions naturally. The actual plot development of the recording late.
Pepa
Pepa was trapped in that little "Noah's Square" at the beginning. She is a typical Almodovar heroine. She likes to talk very much, not only talking about those that should have been said, but also exposing those "inner monologues". I don’t think this is a lazy way of expression, but I would like to see it as the unique personality that the director gives to the characters: they are enthusiastic, sincere, and willing to show their hearts to the world—as long as the world does. Willing to embrace them .
At the beginning of the movie, she said like this: Ivan and I moved here six months ago. The world is falling into chaos and division. I want to save the world and myself. I want to save every pair of things (at this time, the screen of the movie is her balcony, where there are pairs of chickens, ducks, and geese), but I can't save the pair I care about the most, I and Aiwen.
I call this psychological referred to as " paired obsessive-compulsive disorder" . Her "collapse" was not because she could not accept Aiwen's departure, but because she was tired of the mental state of the "other half" Aiwen in her "pair"-this mental state was "coincidentally" in She repeatedly appeared in the dubbing works that she needed to complete. She promised a man to love him forever, and finally she fainted on the red carpet. And she herself is actually accustomed to being the object of this kind of spiritual structure .
Therefore, at the beginning of the movie, she has already ended her "salvation", but she has not yet escaped from the mixed attachment and resentment attitude towards Aiwen. She began to smash the brackets of this small world, even a little hysterically, falling into the "border of collapse" in the movie title. She accidentally lit her bed and smashed the phone's vinyl record. But when Marisa (fiancee of Ivan’s son Carlo) accidentally took a sip of gazpacho soup mixed with an overdose of sleeping pills and fell asleep, Carlo asked her if she also wanted to commit suicide. It was said that this cold vegetable soup was originally for Aiwen, and Aiwen Shuang disappeared. After a few hours of waiting, she added sleeping pills. As the camera pans, we discover that these scenes are all reflected in the makeup mirror, and Pepa’s real face now appears. She calmly said: " This can happen to anyone ." Combined with Pepa as Candice The sentence she said in the defense: " Her crimes are just love and fear ." Probably it is also the answer to the question that the director said through the role.
Later, when she left home and called a taxi, her eyes were still red. This taxi is also a condensed "small world". Bells, conch, small flashlights and small silver flutes are hung from the front window of the car, and various fashion chores are clamped by colorful clips beside the seats. There are tissues behind the seats. And pencils, and there is a toy box of Barbie dolls on the rear window. It is almost the most interesting expression of Almodovar's passion for humanity , but it lacks the eye drops that Pepa needs.
But Almodovar is a man of hope. This taxi appeared again "coincidentally" at the end of the film. This time, the driver brother happily prepared eye drops and gave it to Pepa who needed help.
Lucia
Lucia is Irvine's wife in the house. She poured Pepa a glass of gazpacho so that Pepa finally used the eye drops in the small rental.
She is a person who is still alive in the 70s, so every time she appears, she has a sense of collage .
Here might as well mention Almodovar's early experience. He is not just a film director. He has played music, wore big black stockings, and played fine art. He was influenced by Andy Warhol and postmodern art. The title of "The Woman on the Edge of Breakdown " is a product of " collage ". Almodovar chooses the parts of women's desires, but after artistic reorganization, they no longer have the meaning of desire, but a kind of sincerely revealed enthusiasm . There are confused and torn parts, but it will make people feel that this is still orderly , can be restored to a natural look at any time, and can also welcome a new reorganization at any time.
Lucia likes to wear exaggerated wigs and a delicate pink suit, but white gloves can pull two pistols out of her handbag. She "robbed" the next motorcycle and rushed to the airport, hoping to catch up with her husband Aiwen. At this time, Almodovar designed a very interesting lens: Lucia's floating head-a close-up of the side of her head, and cut away everything else , her chin was raised proudly, her eyes Moving forward firmly and crazily, the tip of his nose was red with cold, and the coolest thing was the light brown fluffy hair, which flew back in the wind. When she arrived at the airport, there was another similar "cutting" shot: when she stood on the sliding belt, the handrails on both sides accounted for 2/3 of the frame, showing only her drifting head.
Finally, she fired another shot in embarrassment and hysterically. After being controlled by the police, she frankly said weakly: "Take me back to the hospital. That's my home."
She has been embedded in the past, sunken in her pathological body.
Marisa
Marisa is the fiancée of Ivan's son Carlo. She may be the main character with the fewest appearances in the whole film, but she is also one of the characters that impresses me the most.
Carlo is a cowardly man, and a man who likes to mess around with flowers. Therefore, Marisa was a little uneasy in their relationship. In fact, she was often excluded from Carlo and another person . For example, on the night of the first meeting with Pepa, she was excluded from Outside of Carlo and Lucia; as soon as they arrived at Pepa’s home, Carlo and Pepa were talking about "homework". She was alone again, so she happened to witness Candace’s suicide attempt; after that, she mistakenly After eating cold vegetable soup with sleeping pills, everyone was moved to the balcony chair to rest, and she seemed to have completely missed the noisy drama in the house.
But in fact, she had a particularly beautiful spring dream on the recliner.
After waking up at night, the night view of the balcony showed a toy-like light. Both she and Pepa wore red clothes. Pepa was very happy and told her indifferently that she was pregnant-this was a suspense planted from the beginning of the movie (Pepa called the company to explain that he was going to the hospital, and the audience might be worried about whether he was seriously ill. , It turned out to be a happy event), and Almodovar is probably the only director who can praise both women and mother (pregnancy is also a typical "rebirth" image in his movies, just like " Two Estabans in Everything About My Mother). She also happily gave the recliner to Pepa, telling her dream: "I was a virgin this morning, but I feel that I am not anymore, in my dream." Her cheeks were flushed and her lips opened and closed. , So moving, and their dialogue is so free and comfortable .
I was wondering why Almodovar would find a strange-looking actor to perform a character that needs a girlish touch . I finally discovered that only such a perfectly weird girl can interpret the bizarre and gentle dreams .
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