Personal love, social customs, and magic are the main elements of Mexico’s demonized realism. Love resists the world. The tragedy of the host and the fantasy of the magic dilute the feeling of crying and sublimate the meaning of hope, but it is not right. Doctor John's tragedy was merciful.
When Tina fell into madness due to the death of Pedro's daughter, John took Tina to his home in the United States and gave her meticulous care and care. Although he and his son didn't like the dishes cooked by the cook, they were used to it. But Tina, you don't have to get used to it. In John's eyes, Tina is a special person and needs special treatment.
In order to reopen the door to Tina's heart, John told Tina his grandmother's interpretation of love. This is not only the most essential part of the film, but also predicts the future fate of the hero and heroine: "We are born with a box of matches in our hearts. We ourselves It cannot be lighted. We need the help of oxygen and candles... Oxygen must come from the breath of the lover. The candle can be anything, a song, a sentence, a caress, a sound... Anything that ignites it. Everyone must find something to keep him alive, because the burst of light from the match ignites our soul. If nothing ignites our soul, our match will become damp and we will never be able to light it again It's...Of course, the most important thing is that you can only light one match at a time, because if the emotions erupt violently, they will be used up all at once, and they will emit a very strong light, so much so You will see a very bright passage. This is the passage into the world that we have long forgotten. This path of life is calling us back to God."
John is not a strict and boring doctor. He knows what It is intense love, and he understands more tolerant love. Facing the fact that tTina was lost to Pedro, John tried to make Tina understand, "You decide who can be your partner in your life. If you say yes, we will get married in a few days; if you say no, I will be the first. Congratulations, Pedro, for being the first to ask him and ask him to give you the name you deserve."
John's gentle, generous love ultimately did not beat Pedro's fierce, selfish love, and in the end the match in John's heart was never lit again. The tragedy of John's love is not the failure of personal charm, but the failure of the plot construction of magical realism, because John's love is the most important level for Tina to pass all the tests and sublimate her love. Only John's failure can complete the doomed love affair between Tina and Pedr.
Magic realism has a kind of fatalism. Everything is predicted and doomed from the very beginning. People cannot be reversed, and the individual is ultimately defeated at the feet of fate.
There are many very post-modern scenes
in the film. Sister Gertrudis is running naked in the wilderness.
Tina is in the pigeon house with socks, her body curled up, her hair scattered, and feathers all around
Tina at John’s house, John touches Tina’s long hair lightly.
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