The first reaction after watching "Night" was to think of Kubrick's "Eye-Opening". It also talks about the separation and separation of a couple. Love is no longer its core. What connects two people is a sense of security and familiarity. that's enough.
In "Night", I felt that emotion again. This is in Rome, not Kubrick’s New York, but at the same cocktail party, night after night, people try to get rid of boredom and find excitement. The party of the rich family is arranged at night, so that it is like a modern garden of Eden: you know, in the garden of Eden, it is not love, Eve deceived Adam, and the two were expelled from the paradise.
The Garden of Eden is not a paradise of love. Of course, Antonioni, who pursues psychological realism, will not tell a story about the ambitions of the upper class. He dilutes their background as much as possible, and walking in the foreground is a group of music seekers drowning in illusion. Their spiritual emptiness will not be concealed by desire and ambition. Under the shroud of night, the manor banquet is no longer related to the world, but is related to everyone.
The two couples are separated, which symbolizes their emotional state. In this manor, they are all strangers. They have to make friends and talk about something. The editing of this part is perfect, and the scheduling between the characters is smooth and natural. The two couldn't blend in with this place at all, so they fell in love again.
Although they will not say that I love you and you love me, but they hug together, at least the body is still hot and familiar. Perhaps this kind of physical relationship can bring them a sense of security more than a spiritual relationship.
The writer is a character in "A Winter's Heart", who only pays attention to his own writing and has no feelings for people. The heroine is unloved, she only loves this man, but she can't get satisfaction.
In addition to the large manor banquet at the end, the film also wrote about three major gatherings: the jazz bar, the book conference, and the hospital.
The opening set the tone, carnival and death set off each other, the world is like a hospital, and people will not be satisfied until the last moment. So the friend of the writer will ask the nurse's name, the female patient next door will seduce the writer, and people will not turn their eyes when they see the world outside the window.
The heroine makes Namoro seem to feel the sadness brought about by the departure of her friend, but when her husband confesses to her his impulse, she has no feelings.
The second new book conference basically flashed past, leaving Namoro to leave alone and toss in the deserted city of Rome. She is not from that cultural circle, she likes the countryside. Some people are setting off fireworks, some are fighting, and some children are crying. This is a more life-like scene than the run-down around the hospital and the luxury of the manor. The heroine hopes to get her passion back from here, but when the writer arrives, she finds nothing.
In the evening, she invited the writer to the jazz bar again, and the two stayed alone. But the false vision was always on the dancer, and she couldn't think of anything to say to him. Whether it is standing naked in front of the writer or changing into new clothes, it seems indifferent.
In the three gatherings, the relationship between the two of them has always been close to each other. The writer can't do without her, but he seems to have no passion for her. The heroine longs for passion, but can't burn it, and has no interest in others.
To some extent, I thought of Cai Mingliang's "Long Live Love", the last scene of the heroine crying on a park bench. She can only cry to the wind, the lonely modern person can no longer continue to love love.
In this film, the two finally kissed strongly on the sand. Bright morning, a new day, maybe this is the home of love. A new beginning allows us to live.
What impressed me most was the cat staring at the statue, waiting for the heads of ancient Greece to be resurrected even more than people. What a wonderful irony this is.
The performance is indeed from that era, and the drama has a strong flavor. The face of the task is squeezed, and the behavior is very normal. There are not many real life-like performances, like the rich and the patients, right? Perhaps this is the exposure of psychological realism.
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