1. The real and the false, the false and the truth
"Crash" uses three fiercely conflicting single lines to collide with each other, condensing the complicated social problems in a movie, sharp and climaxing, which makes Paul Haggis ingenious and superb. The ability to navigate the story.
"Third Person" continues the three-line narrative method, but finally puts each single line into the inner world of a writer. Tolerance, understanding, trust, self-discipline and redemption, these abstract propositions that everyone can touch on the spiritual level, are told through concrete stories, cleverly integrated, without losing dominance in the chaos, and sublimated in realism. A movie and a person’s heart mirror each other and present each other, see waves in peace, grandness in fragments, a rich and three-dimensional spiritual journey, truly fascinating!
Its origin is: a man, because he took the phone from his lover and walked away, causing his swimming son to drown. He lied, guilty, and left home, seeking a way of liberation while he was struggling with his lover and wife. His stories, as well as the stories in his pens, fictional and real, have become three independent and intersecting clues in the movie.
Many people will ask: Which of the three lines is true? Which one is false?
I want to say that regarding privacy and sensitive topics, when it becomes a public work, it is based on the work itself-does it touch you? Do you see yourself in the mirror? Have you found the truth for you? Or, just appreciating, do you feel happy?
The biggest taboo is to stick to the truth and falsity behind the work, where there is a bottom line set by the author.
No work is made out of thin air out of life, even if the magic is like "Harry Potter", the inner evolution of the characters cannot be separated from the author's life experience.
Just be tacit. When the author presents part of his self, he needs courage; when the reader puts down the prying habits, is it not a kind of self-cultivation?
"This story is purely fictitious, please do not check in." and "If there is any similarity, it is purely coincidental." When will such statements cease to be a footnote to the disharmony of a work? Of course it is when the reader (audience) becomes a true connoisseur.
2. "Watch me!"
Clue 1: An American man and a gypsy woman accidentally met, but they deduced the inevitable perseverance.
I have to say that when psychology determines behavior, it is more mysterious than destiny and magic. The so-called "fate" has a tortuous line behind it, extending from the heart of the character, connecting the person who fits.
Yes, this man can be a writer's creation, and the writer can use this to fulfill his inner demands-an American man's negligence caused the death of his daughter, and the psychology of atonement made him rather bankrupt his family to save a child who might be fabricated by a woman who meets in peace.
The moral concepts of "conscientious condemnation" and "guilt" are derived from the very material concept of "debt"-his ransom has risen from 5,000 to 100,000 U.S. dollars, and the subject matter may be fictional, but he will go his own way and commit himself. Net, he is saving himself. He exchanged an equivalent for his inner peace.
Clue 2: A painter put the child in the washing machine because his wife allowed the child to experience danger, thus depriving her of the right to visit the child. The wife was forgiven and forgived in the end.
This is of course another inner portrayal of the writer. Father’s love is like mother’s love. No matter how irrational or even crazy actions you make (implying that putting your child in the washing machine is as crazy as your passion for your lover?), the child has no grudges—isn’t he always on the side of the mother? He refused to cooperate with the painting, and deliberately soiled the painter's painting...
In order to see the child, the mother suffered all the grievances and sufferings. The humbler she is, the more noble she is. There is only one simple and persistent goal in her life-to see child.
The writer is a rough-looking man who has lost the delicate emotions of his beloved son. It is embarrassing to use this almost pathological woman to express it. Here is his wishful self-comfort—the child forgave him, and the child would not doubt his love at all. Of course, the wife can finally jump into the pool to swim, which also indicates forgiving him.
Clue three: writer and lover.
Their relationship is complicated. Perhaps, this complexity is after losing the child.
Undoubtedly, they are in love. He was tortured and confused because of passion, and the relationship between the two people became the victim and perpetrator because of the death of the child. He began to doubt the value of love, and the consequences occurred, and the lover became the source of his painful memories. He will insist that the lover is responsible for his pain. Although this is a misunderstanding, he can't help it. The intrusion of guilt made it impossible for him to get happiness from this relationship.
Therefore, in the movie, we see the peculiar psychological games of two people: intimacy, alienation, cold war, temptation and anti-temptation... Only the white roses in that room are true love and a memorial service, and they are also used by another mother (also a writer). Own avatar) personally crushed.
Regarding memory, only things that continue to cause pain will not be forgotten, so how to find a way to counter this deep-rooted pain? He chooses to punish-he writes the relationship between his lover and his father into his work.
The publisher said: "In less than half a year, people will know Anna, what would she think?" (To the effect) The
writer replied: "This is the weakest work, but it is the strongest choice."
This punishment is both for Anna and right. Own. New pain has arisen, and he will be strong enough to bear it.
Reason, seriousness, and abstinence, these mean deliberate and gloomy things, these human privileges and treasures, how high their price is! How many tears and horror are there behind!
When he finds this way, he can face the broken world that he has recreated again-facing those women, facing the children, is facing himself.
They said: "
Watch me!" He looked over one by one, clearly and firmly.
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