long-lost movie that made me stare and stunned! This is a confrontation between text, characters and images that uses humanity, desire and life to influence and control! The whole film, starting from Claude's writing, slowly develops and extends to the deepest point of desire, horror, and admiration!
Crowder's first "to be continued" composition aroused the curiosity of Gilman and his wife, and this curiosity quickly escalated into a desire for peeping.
[The first stage: the beginning] In the
beginning stage, the teacher Gilman dominates. In this stage, he controls the plot trend of "entering the room" again and again, and indirectly through the modification of the writings written by Claude. It realizes the correction of the film's past image, that is, the re-interpretation of the same period of the story (for example, when Claude is tutoring Raphael, Raphael's father enters with a basketball in two interpretations). But when Claude hinted that the teacher Gilman must leak the math test questions to him in order to ensure that he could stay at Raphael's house and let the story continue, the relationship between the teacher and the student began to move towards checks and balances, and here , It is the beginning of the next stage.
[Second stage: checks and balances]
In this stage, Claude slowly grasped some initiative, and he began to contain Gilman with his stories. All the guidance and suggestions that Gilman put forward can only assist in the direction of Claude's story, and no longer have a decisive influence. At this stage, Claude had the opportunity to be alone with Raphael’s mother, and had the opportunity to peer into the whole house. His desire for Raphael’s mother became more explicit. The viewers (including the Gilmans and ourselves) ) Is also very curious about "what will happen next".
[Third Stage: Complete Equality]
Before the viewer has reacted, the relationship between Claude and his teacher Gilman has entered the third stage. At this stage, it started when Claude started to draw his own story for Gilman on the blackboard with a chalk! At this time, Gilman has clearly lost his dominant position. He has been pinned down by Claude. He asked Claude over and over again: "What will happen next"!
At this stage, although Gilman would still make some suggestions to criticize and guide the content written by Claude, and the film still gives him the power to retell the images, but at this time, Claude is completely standing. An equal status "confrontation" with Gilman, he will directly question the teacher "Since you know how the story should develop, why not write it yourself"!
[Fourth Stage: Bringing In]
In this stage, the real priority is given to film images. Abandoning the normal process of revising the composition between the two, but directly put the communication between Claude and Gilman into the scene of the incident, the image in this part, really let the two voyeurs come to the first scene together. All discussions and arguments have become more heartily. Claude "in front of Gilman" asked Raphael to report the teacher's statement to the school, and "in front of Gilman" kissed Raphael's mother and was seen by his son Raphael. The madness in the image reached a complete climax after Claude watched Raphael's parents have sex, and then lay between the two. As an indirect voyeur, Gilman couldn't stop it.
The text is out of control, the character is out of control, the image is out of control! The nature of life succumbs to the desires of human nature.
[Fifth stage: Gilman completely loses control]
In this stage, the reality of the film itself and Claude's composition are becoming more and more blurred. With a swipe of a pen, Claude can write down Raphael, one of the main characters, and easily scare Gilman to death. Gilman himself realized that he had completely lost the influence on the direction of the story. He tried to stop, but all this was out of control, and Claude "can't stop it anymore"! When Gilman swears his hegemony by stopping reading, and trying to stop everything by this, Claude smiled contemptuously and threw the written composition into the trash can. Of course, Gilman picked it up sullenly and continued to watch. , He has been completely lost, he has long been lost to his own desire in human nature! When Claude finally gave him several results and let him choose, Gilman, who was still trying to maintain his image as a "mentor", was completely stripped naked by Claude and stood in front of the audience. : You want to see these stories, you have long been lost in your desires, teacher!
Raphael’s mother, even though she was bored and bored all day long, she knew that the two Raphaels in the family needed herself, Claude. It was her excitement for a moment. After that, she finally bowed her head to life and returned to the original trajectory. It was a new life in China, but for her, it was a continuation of plainness. Claude, wrote this ending for the Raphael family and himself, but the movie continues.
[The sixth stage: Okay, this is the end I give you]
Claude went to find the teacher’s wife. He knew that this woman had been peeking at his own story, his desire for Raphael’s mother, At the same time, he was agitating the teacher's wife intentionally or unintentionally, reminding her that her life was equally depressed and messy. This woman who was exhausted physically and mentally by her own art gallery, whose husband did not understand her artwork and who had not made love to her for a long time, gradually realized that her situation was no different from that of Raphael's mother, or even worse. She chose the last indulgence, and ended a dull and boring marriage after the cloud and rain with Claude. After Gilman returned home, he fought with his wife. He was actually fighting with Raphael’s mother in the story of Claude. It was a fight between desire and desire, a fight between anger and depression. The story ends here. Going deep into the bone marrow is terrible.
[Finally: All lost, no choice]
Gilman, who had no work and wife, sat lonely on the bench, and Claude walked over, and the two faced the two women on the opposite balcony and told what they thought. The story that is happening. At this time, what the story they tell is no longer important. The image of the movie shows the back of two people. We, as the audience, have always been behind them, looking at the story they are looking at, and peeping at them. The voyeuristic life, it turns out that we, who watched heartily, are nothing more than that. We were trapped by this ending. We peeped into that building. Some people were playing cards, some were dancing, some were making love, some were killing people with guns, and some were watching the writing written by a man called "Xinsheng". I think that a confrontation of desires peeped from "Into the Hall" (don’t look back)...
[to be continued]
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