Luca Guadagnino, who became known as "the most beautiful gay film in history"-"Call me by your name" and became a "popular" director of literary art, actually appeared in his 2009 "I Am Love "" and 2015's "Holiday Surprise", you can already vaguely glimpse the theme of his future creation-focusing on the living conditions of the middle class, emphasizing the mutual struggle between desire and morality, the loss and identification of self-identity, and the LGBT community Deeply concerned; and the visual effect is also surprisingly consistent-photography is full of oil painting texture, smooth mirror movement, close connection between natural beauty and emotional ups and downs, beautiful art, exquisite clothing, regardless of the plot, just watch the effect It is pleasing enough.
On the surface, the main storyline of "I Am Love" looks quite like "Mrs. Chatterley's Lover". Tan Kred, the second-generation owner of the textile giant Ricky family, and his Russian wife Emma, raised They have developed two children and one daughter, with the characteristics of a perfect upper-class family family. However, after many years of marriage, they are separated from each other. It was not until I met Antonio, the chef friend of the eldest son, Edvado, that the beauty of appetite triggered the germination of lust. Two people of different ages, social status, and backgrounds quickly fell into the dense net of love, which led to a dispute between mother and child. Devado accidentally hit the head and died, Emma also determined to leave home to regain a new life.
Name-awakened self-awareness
This film is indeed like the prelude and preview of "Please call me by your name", through the loss and recall of name (identity), it demonstrates the awakening of love and the extension of lust. Emma was originally the daughter of an art dealer in Russia. After marrying Tan Kred, her husband changed her name. From "Sitesh" to "Emma", she stripped of nostalgic names, suggesting that her self-identity was gradually thinning. From the quick clip editing of the nightmare, it can be seen that Emma's usual dignity and elegance is not her true self, she still has the wandering in a foreign country in her heart, and she obviously has not confided this anxiety to anyone.
The husband doesn’t write much, but a few words reveal his dismissal and even disdain for Emma. He talked contemptuously about "Russian temperament" and joked frivolously, "You can deal with Russians". After Ma bravely said "I love Antonio", he didn't get furious, but coldly spit out: "Don't let me see you again!" There is no retention, no doubt, the indifference in daily life piles up into an iceberg, "contempt." The maximum lethality threshold is in marriage.
The best way for Emma to escape from contempt and ignorance is to cook in the kitchen. Therefore, it is reasonable to meet Antonio, who has superb cooking skills, who can open her physical and emotional heart. The close-up of her eyes and mouth when her taste buds were first shaken, Emma plunged into a wonderful world with her whole body and mind, her joy expanded to become the spotlight above her head, and she was shrouded in trance and dreams.
This trance is also reflected in many flashback clips, which is the awakening of erotic desire that Emma can't control. When I first arrived in San Remo, I caught a glimpse of Antonio on the street. She unknowingly followed behind her, like a golden swirling hair bun, revealing her drunken state. This section is as straight as Hitchcock's "Victorius" possessed. In front of the mountain hut in Antonio, the kisses in the foreground were also in a trance. If it weren't for Emma's look hurriedly afterwards, she would have doubted whether what happened just now was true.
Emma removed her Chinese clothes in the hut, opened her heart to Antonio, "I am no longer a Russian", told his favorite hometown dish "Fresh Fish Soup", and recalled the dusty past that brought her back to herself. In particular, the original name "Sitesh" was gently called out, calling me by my name, and the once lost self was recalled. As a result, under the bright and transparent Italian sunlight, the lush greenery of lust flows, lust grows in sync with everything in the empty mirror, and the hot skin shines. This period can be called the most beautiful moment in the film. The sultry rhyme of fragrant fragrance, the green air dripping, and the technique of figuring people with scenery has also been used in cmbyn.
The falling of stars in the great changes of the times
This film is not only a seemingly popular extramarital love story, but also sets the background in the Italian industrial transformation period after World War II. The founding first generation of Ricky's family business entrusted the heavy responsibility to his son Tancored and grandson Eduardo. With the sweeping industrial globalization, the single-handedness of traditional family businesses is no longer suitable for market development. The execution of the previous generation Policy faces survival challenges. The Middle Eastern oil tycoon put forward the slogan "Capital is both democracy". In the capital world, one of the laws of the jungle is the rule of the game. The setting of the entire social background is inevitably reminiscent of Visconti’s "Leopard"-in this suffocating space where the old and the new alternate, the balance of historical power is quietly tilting, a dying body (old forces) Higurashi Nishiyama sings an elegy, and ambitious people are bound to become trendies.
In such a great change of the times, opportunists have always made their fortunes. Tankred is obviously willing to cooperate with the rich in the Middle East; while Eduardo, as an idealist, wants to preserve his grandfather’s discipline while trying to preserve his grandfather’s discipline. It was told that the so-called perfect grandfather also had an unknown dark history, and at the same time suffered the pain between the deep love and struggling hatred for his mother. The last thing that shattered his belief was the fresh fish soup made by Antonio on the dining table. The flashback memory allowed him to link up details that he had previously suspected, confirming the relationship between his mother and his friends. His death was accidental and inevitable. In the gap between the old and new in the world and the generational change in the family, he was a purely radiant existence. His departure represented the fall and fall of classical idealism in the "new world". destroy.
Although the subject matter of the film seems to have a strong plot, the method of telling the story is biased towards the literary line. Amidst the faint flow of emotions, with the ups and downs of beautiful music, the detailed layout and the interweaving of fragments form a family panorama. The motion shots in the mansion are flowing and flowing, which effectively and perfectly explain the group portrait information. The role positioning and scene scheduling are very meticulous, so more space can be left for the emotional description that dominates the tone of the film, rather than the running account to advance the plot.
At the end of the moment when Emma and her daughter stared, the eyes of Emma burned with a girlish radiance. She left everything behind and escaped from the shackled cage in sportswear, and the film came to an abrupt end. And this daughter who gave her mother an understanding of smiles only told her mother the secret of having a same-sex girlfriend. We might as well imagine that after the mother fled, maybe it would be her daughter’s flying away, and the real new era is coming.
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