This is not a very story-telling feature film, so it feels a bit scattered when I read it over and over again, but after carefully recalling some details, I found that it is indeed a film that goes to the end, that is, all the plots are developed to express this theme. ：How did a female movie star who has passed the unconquering years change from being habitually strong to accepting her own weakness. This process of gradual transformation is what makes this film interesting.
For this reason, we may have to do a little spoiler to explain the process (in fact, it is not called a spoiler, how many things can be summarized in a single sentence). The film shows that the actress Maria Enders dealt with her five aspects of social relations strongly, but the result was not satisfactory. In the end, not only did she understand, but we also realized the following truth: People should not always remain strong. Being good at accepting one's own weakness in certain times and occasions is a mature performance, which is not only conducive to maintaining good social relations, but also a necessary condition for maintaining a healthy mentality. These five aspects of social relations mainly refer to the husband and wife relations, lover relations, employment relations, cooperative relations (relationships based on contracts) and colleague relations that she handles.
Some people say that the problem with the film’s protagonist Maria is that she does not accept her age’s weakness. This makes sense. However, some poor relationships cannot be entirely attributed to this age problem. Her “habitual strength” "Maybe it's more important. At the beginning of the film, her husband and wife relationship was involved. Even her personal assistant referred to her husband as his "future ex-husband", which means that she was getting divorced. It can be inferred that she should be very strong and active in requesting a divorce, and she should also be the party at fault, otherwise the court would let her "administer" certain matters of the divorce unlawfully, and she would not be able to handle the final division of the property. Actively admit that "maybe I was wrong." It is conceivable that she habitually plays a strong role in her work, causing her to forget that role switching is the main reason for her divorce in the relationship between husband and wife, because "love" is to a certain extent "weak existence". "Weakness" can be interpreted as "inclusiveness" or "dependence". People who stand alone outside and want to dominate everything at home cannot maintain a good husband and wife relationship.
The relationship between her and her former lover Henryk Wald is more indicative of her strength. She failed to keep others 20 years ago. Although she explained that she did not want his "violent and depraved" humiliation against women, she was obviously insincere. 20 years later, she still did not understand her weakness. Although Henryk has euphemistically reminded her to "accept her own weakness", when Henryk invited her upstairs for a drink, she strongly refused. When they were about to leave, she told them her room number. On the surface The behavior of not wanting to cater to the lover of the past strongly illustrates her strength. However, when they are not coming, she could have invited them by phone, but her strong psychology made her hang up the call that she had just dialed. Obviously, her repeated self-humiliating behavior is caused by her habitually strong behavior. If she is a little weaker, at least she will not be alone that night. This also corresponds to the line in the play. Cold to the end, an embarrassing situation that is difficult and unwilling to call uncomfortable.
There is an employment relationship between her and her personal assistant Valentines, but this employment relationship has never developed to be like the one she played in "Molaja Snake" (Molaja Snake). The kind of emotional dependence between Sigrid and Helena, because Wei Leng Ting’s departure did not completely break her down, although I have been worried about their relationship during the movie watching. It would be a replica of Sigurd and Helena, but in the end it was discovered that the relationship between them is just the opposite of the relationship between the two characters in the play. Maria also showed a kind of habitual strength in this kind of employment relationship, which is the main reason leading to Weiluntin's departure. Leading the way twice is proof. Once she took the wrong way and took the wrong way, regardless of Verentin’s correct opinion. Another time she didn’t believe that Verentin, who was holding the map, thought she took the wrong way. The latter unreasonable blame caused her to leave. direct cause.
Of course, we can say that Wei Lentin left because she felt that she did not receive the respect she deserves, but the most important thing was Maria’s habitual strength. She did not rely on things that can rely on assistants, such as speech drafts. She wants to write by herself. When she should trust her assistant, she doesn’t believe it, such as leading the way. As an assistant, she feels that she has no value in existence; besides, her knowledge lies in many aspects of her work. Maria’s correct opinion was not approved by Maria, and she was even despised and ridiculed. Although the relationship between them is an employment relationship, they are in fact like friends, just like the relationship between husband and wife. If there is no mutual dependence between them and one party is always in a subsidiary role, then this kind of friendship is not strong. They were a good proof when they practiced their lines. Although Velentin doesn't think her job is so low, she is completely a weak person in front of Maria (I think Christine's performance is very good). She was supposed to be a strong role in the exercise, while Maria’s should be the opposite, but it was completely reversed in the exercise, because Maria was totally unwilling to accept a weak Helena, which made Verentin even more unable to perform the role. Due to her strength, she disliked her current job even more, so she asked to leave. It can be seen that Maria not only stays strong in real life, but also stays strong in the role she plays. This mentality hurts Velentin, and she makes Velentin feel that she is just "an exclusive companion, drinking and drinking." However, the employment and friendship between them will be unsustainable.
When dealing with the cooperative relationship between her and the producer, Maria's habitual strength was hit again. She could not accept a role she did not recognize, and was unwilling to change her impression when playing Sigurd, and arbitrarily demanded the termination of the contract, but she was obviously an outdated female movie star, and neither her economic strength nor her charm could match the young idol. The Hollywood actor Jo-Ann Ellis (Jo-Ann Ellis), Ellis dared to terminate her previous filming contract, so she had to go against her wishes and was forced to take on a role she did not approve of.
Maria is habitually strong. After several blows, especially after the assistant leaves her, she seems to have some understanding of her past behavior: If you don't accept where you should accept your own weakness, the times will force you to accept it. In the subsequent relationship with Ellis' colleagues, she gradually accepted her weakness psychologically, or she realized that she could not compete with the new generation of actors at all. After she had been in contact with Ellis for a period of time, she found that she did not have the capital to love and hate Ellis, and could not bear the negative influence of public opinion. She also realized that Ellis was the most suitable performer for Sigurd. The choice is not only because Ellis has the "strong" that meets the requirements of the role, but also because of her talent. When they were previewing the "Snake of Maloja" stage play, she wanted Ellis to give her a sympathetic glimpse of Helena when she played Sigurd, but Ellis refused, although this shows that The two generations have different understandings of the role, but it also shows that she is still affected by her habitual strong influence. Obviously, this version of "Maloya Snake" needs a completely weak Helena, because there is An absolutely strong Sigurd. Therefore, she believes that Ellis’ interpretation of the role is correct, and she wants to change herself "I forgot who I was at the time, old habits will always come back, and they must be destroyed."
Even so, Maria’s expression seemed to be The words that showed that she wanted to change herself seemed insincere, and the sense of loss was obvious. What really changed her mindset was the new generation director who wanted her to play a role. This director made her understand that sometimes age is an advantage, and hyping scandals also meets the needs of human nature, but there are still roles that exceed the age requirements, which gives her the feeling of "losing the East and reaping the mulberry". The important thing is that she has gone through a psychological change from strong to weak, and she should truly understand Helena's role. She should be able to naturally cope with the requirements of this role. Her last appearance clearly showed us her self-confidence. (By:heshenggen/2015-04-05)
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