Poetry is made into a movie. The movie tells you the beautiful love words that love you like a poem. It should not only please your hearing, but also capture your vision, and let your feelings spread. In the love song of hope and separation, the romance is ruthlessly ruined in reality, and a bizarre ideology that can be detected in a limited time-nothing more than seven emotions and six desires. This kind of film seems to me to be a literary film. When it comes to expressing the poetic scenery that this kind of film should have, the French are the most affectionate, and they are more willing to take care of the viewer’s feelings. Even if it is a sad story, it must be covered with French rose petals wherever it goes. . "Entering the Hall" is a French film adapted from the stage play "The boy is in the last row" created by Spanish writer Juan Mayorga, and directed by the emerging French director Francois Ou Jong. Ou Rong, who has always been eclectic and keen to explore various ways of film expression, did not disappoint his fans this time. As for the original play, it is almost in the middle of the song, and it is not very polite. Even the homework title "How I Spend Last Weekend" left by the literature teacher is used in a subtle way, which seems to be nothing new, but the result is otherwise. He covers too much content in the movie, even with only one lens, you can interpret his sarcasm or meditation,-the medium of desire reflects blackness, power, mediocrity, discrimination, depression, jealousy, right and wrong, burnout , Passion. . . . . . Then return to the unquenchable desire. It's hard to imagine that a story that seems to be particularly bastard and violates ethics can resonate so naturally among spectators. The appearance that floats in front of you is like this. A student wrote a peeping, and a weekly journal about another student’s family caught the teacher’s attention. The voyeuristic story continues to develop. During this period, the teacher's wife felt the teacher's change and tried to explain the indifference between their husband and wife with a new desire to find "same sex between the teacher and the apprentice". The teacher disagrees, because he knows that he just wants to capture the glory of a writer who failed to complete in his youth. Here is the question of whether the chicken comes first or the egg comes first. Is the student interested in the teacher, or the teacher allows the student to design himself? The second perspective completely presents the so-called "middle-class family's life state with divine separation," showing the Raphael family "looks like after closing the door" of the peeped. Raphael, a classmate who also borrowed a student, is a topic of little homosexuality. Sticking to the subject, homosexuality is indeed the director François. Ou Rong's films are particularly concerned about groups. The third is the dominant perspective, as if the student had only one peeping purpose. He aspired to be a part of the family and then be favored by the hostess, whether it was spiritual or physical. However, what is real? Want to come, Francois. Ou Rong's grasp of the rhythm of the movie and the narrative method he wants to bring to the audience have tried to come out of their own accord, placing the three-dimensional stage play in the "four-dimensional space" built by the lens. The spontaneous or alliance factors in the whole event, accidental or Inevitable continuation, a certain mysterious criss-crossing sense naturally appeared, and the relationship between the characters also added a layer of mysterious connection. Moreover, the use of traditional positioning lenses has made the conflicts more and more turbulent. This is mainly manifested in the second half. When the French literature teacher Gilman became an accomplice of the student Claude, when teaching writing grammar, he intentionally or unintentionally revealed his personal "desire", the story began a deeper exploration. If it is said that this story did not involve the intervention of Teacher Gilman, Claude's peeping and recording the story of his classmate Raphael's family may end prematurely. At least, there will be no memories of the stormy night that Claude recorded later. This scene of unconcealed "primitive desire" jumped out of the emptiness in the dark on Claude's calm and indifferent face, and was stained with desolate sadness. What's more, there is also Claude's narration, and the voiceover is-children are not all the crystallization of love. Therefore, "the children will have nightmares on stormy nights and want to sleep in a big bed with their parents." At this time, I am sure that Claude is singing the praises of desire, but what he wants is completely different from what he just saw, and the desire to settle in the soul can burn the night. He thought of his mother, is this a clue? Claude's lack of maternal love has no place in his life, which indulges him to hide his anxiety with abnormal curiosity. Then there are various answers to his desire for Mrs. Raphael's admiration. So Ou Rong is very good at dealing with it, and he allows all kinds of ambiguities to have a foothold. But I am still inclined to Crowder's desire to heal the scars of growth. It is a yearning for the warmth from the family and the love from his mother, and this is in line with the clues drawn after the opening and closing of the whole show. Claude's original ecological family is obviously dilapidated and incomplete. Without a mother, his father is paralyzed in bed. He is a symbol of the integrity of this family. This is really cruel. With the sympathy of the magistrate well laid out, this will become the impunity card for Claude's grand-sounding entrance into the house. In fact, making this all mundane and cruel is in line with the card rationale in the adult world, which is promoted by the teacher Gilman in the play. He is so interesting to me. If there is such a gentleman who is willing to teach me literature in reality, I can just look at it. The problem is that Gilman's purpose is not here. He is just another chess piece that the director has created "desire to reappear". Therefore, when portraying Gilman, he is not looking up, and there is an illusion of contradictory harmony everywhere. In the play, Gilman himself Realizing that, he warned himself to wake up Claude at the same time, "You don't need to describe the scene of Raphael's sex, let alone my desires, think about what you want." This may not come from Gilman's heart, until he mocked Claude's use of poetic feelings to play with the arty romance of the middle class, his desire to cross the boundary was completely exposed. In fact, in the process of writing articles with him assisting Claude, he has constantly exposed his ambition to listen to politics. As a result, the conflict has a transferable link, and the drama becomes better. Claude is not Gilman's teenage tense, and Claude is not Gilman's "son". I guess that, as the creator of this drama, I shouldn't agree with this kind of unruly "desire" wanton. The "desire" that praises freedom is sincere, but it also respects the judgment of morals and ethics, which has the ironic effect of the final maneuver. Analyzing the relationship between the characters around "desire", this movie looks quite enjoyable. The so-called desire is hard to fill, it is not perfect. All the characters in the play have private pursuits and desires. For this reason, they are numb to the happiness and happiness that they take for granted, and they are all in a state of mind. The interspersed satirical scenes have a very condensing effect. The incomplete dolls in Mrs. Gilman’s art gallery. The three figures combine the former “rich and handsome” into a political picture of power and desire. Little Raphael’s room The dolls in the house and a few paintings in the porch, the twin sisters were at a loss beyond imagination when they looked at the four paintings stupidly, and so on. Suddenly, I felt that François Ou Jong would choose a beautiful and spiritual actor to boost his movie. In "Time Staying" in 2005, Melville Popo's handsome, decadent, sluggish, indifferent and subdued charms have been used by him, and he has pushed Pope to the position of the movie actor at the Spanish International Film Festival. And he found Ernst in this ``Into the Hall''. Wu Moai is actually a niche who can speak with his eyes, revealing a cunning, gentle, unruly, and rebellious spirituality. The young Ou Rong is indeed a promising new director in France. In 2002, "Bameitu" created the miracle that eight actresses of the European Film Festival won the queen laurel together. At that time, he was already full of "desire" for movies. Ten years later, borrowing the suspenseful elements from "Bamitu" and refitting it into "Into the Hall" is also a good comeback. Finally, to sort out, I was too entangled in reality, and regarded Claude as a "boy". Now we have to return to the other side of the illusion, just like the virtual and real layout of the whole movie. Erasing everything from the front, Crowder is just a symbol in the play, representing a passion of perpetual innocence and curiosity, and also the "desire" that the director wants to see the audience understand forever. The ending speaks for itself. Gilman has no job and lost his wife, but he will always have "Crowder". As a result, all the pain he experienced was nothing more than a desire to regain his passion for writing. Returning to the main theme of the original stage play, it is still a satire that the easy and mediocre life of the middle class is like stagnant water, lifeless, without humor, only mechanical movements. Goethe said: "Here is the poetry of life, so there is no heresy to hurt a poet." I also feel that desire is nothing wrong, but reality is the judge. If you capture the desire that should not be touched, you will always Those who are responsible for this, whether it is painful or pleasant. PS: This film is good for literary writing. It has a romantic feeling and a little more beautiful imagination.
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