The moon has been a symbol of erotic desire in the history of Chinese and foreign literature since ancient times. Therefore, as the name suggests, suffering from the moon means suffering from lust. Eroticism once made Mimi and Oscar's love to the extreme, but it also completely subverted their love, making it narrow to a dead end. The few close-ups of the moon that are not counted in the film are all a crooked crescent moon, and the two pointed corners resemble a double-edged sharp knife, which is full of erotic heart.
The narrative perspective adopted by the director hides the danger of male discourse politics. Women can only be narrated, guessed, and tried-Mimi was eventually sentenced to death in her sleep for the crime of greed. It seems that the subjectivity of women has been disintegrated and symbolized as a symbol of "physical body". (And the whole movie tells the story of how people are alienated by lust.) And the woman's subjectivity is still tenaciously highlighted through the text-about the gun, it seems that Oscar finally took the role of the presiding judge-but The gun he used to execute the trial, let us go back to the front. It is exactly the gift Mimi gave him. After Oscar was tortured with humiliation, but begged to die, he asked Mimi angrily why he didn’t kill him. At this time, Mimi handed him a gun, seemingly provoking and mocking him: "Come on, don't you want to die? Don't be kidding, you don't have the courage at all!" However, reading carefully, if This is the gun that Mimi handed him after hearing his words. So the above interpretation is completely valid. However, this gun was packaged in a gift box for a long time, so the above explanation is simple and rude, that is to say. She had premeditated about their ending, she knew exactly what Oscar would do in the end, or that she inspired him to do so, everything was in her grasp. The moment he shot her, her revenge mission was successfully completed-"I finally made you hate me like I hate you. A few years ago I wished to kill you like this!" A motive that uses all of his life to avenge, if it cannot be named after "love", what is it?
They all know that they love each other deeply, but the overflow of eroticism can no longer make them live in peace. (In other words, when they fell in love, they exhausted their entire life's lust energy. This is reminiscent of the "Love Bucket of Water Theory", that is, a person's life's love is limited, just like a bucket of water. One point.) This reminds me of another French film "Two Little No Guess", another pair of lovers who choose to die together, they are also due to some kind of overly fierce passion for life-although not lust, they tortured each other and fell in love. Choose death. Because they all know that such turbulent love can only obtain the peace of soul in death, and only death can stop them from hurting each other.
And another couple, Nigel and Fiona, are forming a complementary and isomorphic relationship with them. They have been living elegantly and decently, with respect and respect for each case, but even this kind of relationship will hit the rocks-but its Too plain. Comparing the two, it is not difficult to convey a doomsday sentiment of the same end in different ways-some contradictions are destined to be unresolved, and some tragedies are destined to be unavoidable.
It’s not difficult for a careful audience to find out that Mimi’s target of sex hunting at sea this time has been Ferna from the very beginning. At the beginning of the movie, it was her and Ferna in the bathroom-a scene in a closed and secret space. Opponent play. However, the director cleverly obscured it. This not only left room for speculation for the audience, but also buried thousands of miles in the final ending of the film, leaving behind what seemed to be the most inadvertent foreshadowing, an understatement enough to make the audience nervous. His attention paid attention to the development between Nigel, Oscar and Mimi, while ignoring the significance of Fiona's existence. It seems that she really can only exist as a plant as the background of a still life like the English rose. That’s why he was able to win surprisingly at the end of the film, which made people surprised by Fiona’s performance, and began to reminisce about her series of performances at the beginning of the film, and couldn’t help but admire Polanski’s film that none of the characters were superfluous— -Even the little girl who doesn't speak much in India exists as a symbol of hope. This is the only warm and bright color in the entire film full of eroticism, revenge and violence.
In addition, the director uses close-up close-ups to express the inner tension of the characters and the tension between the characters. Through the Oscar's narrative, the scene can be arranged freely, shuttled between the memories and the reality, so that the audience can not help but hold their breath. (To be continued)
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