This is Emma's narrow pleasure in "Madame Bovary." This has been revealed very clearly by Flaubert. But this kind of fun is so common, how many generations it still does. For artists, the essence of art is to imitate life, while for ordinary people, the meaning of life is to imitate art. How many stupid characters art creates, there are so many fools who repeat the same mistakes in life.
Halle was a normal child, two years older than Monica, and his mother died when he was five years old. He lives in a single parent home. He hopes he can live a normal life. He loves Monica. When Monica asked him to give him a kiss according to the plot in the movie, his performance was quite satisfactory. When she quit her job desperately and wanted to live independently and freely, he desperately eloped with her.
But he didn't know that Monica ran away from home because he couldn't bear the life of a normal person, and his purpose was to have a normal family where a man earns money to support his family, and his wife raises children at home. They got married and gave birth to a child, and then she finally couldn't bear it. But what can she do? You can only do something wrong in order to get a fight. Then, she couldn't stand it even more. But what can she do? Only in the old way, I was gone.
If they have no children, this can only be a joke, but once a child appears in the story, it is difficult for people to laugh. When their fate looks stupid than they are, they are in a great tragedy. They have dreams but they can't realize them anyway. The protagonists of classical tragedies are heroes, and the protagonists of modern tragedies are dreamers.
This film is a very typical modern tragedy. It does not create a perfect good person and destroy him like a classical tragedy. The tragic nature of modern tragedy is to create a beautiful dream of life and then make it shattered.
If one element of tragedy is terrible, then classical tragedies always develop the terrible nature of tragedy to a lofty state. The horror in a tragedy can be divided into three levels. The first level is that the person in the play is walking on a wrong path, the second level is that he does not realize that his path is wrong, and the third level is when he is aware of it. When he was walking on a terrible road, he still had to go on. Only by developing the terribleness of the tragedy to the third level can the artistic lofty be achieved.
But what about Bergman's modern tragedy? He only developed to the second level and stopped. He doesn't want to be an aesthetic benchmark, but just wants to be a satirical admonition, a commandment that helps people not to repeat the same mistakes and not always be stupid. In this respect, Bergman is indeed a moralist, but he is not an ordinary moralist.
The value of this film lies in the fact that the details are true. Vividness must be true. It is not general truth, but it is truly amazing. Only surprise can produce artistic beauty, and beauty eliminates boredom. In other words, only when the truth is surprising, the truth and beauty will be combined, of course they have not yet been combined with the good. From here, we can see another characteristic of modern tragedy, which is that although it is of ethical significance, its beauty does not come from goodness, but from truth. This is the ethics of realism.
In the film, the most exciting thing is when Monica and her boyfriend Halle suffered multiple blows during the elopement. She asked herself: "Why do some people always have good luck, and some people always have good luck? No!" This sentence of torture reveals the uniqueness of the "dreamer", that is, he is always convinced that he will be lucky, and it is this kind of psychology that distinguishes the dreamer from ordinary people and animals.
In this film, we can also appreciate how Bergman skillfully uses that quiet panning shot to express the resentment lurking in people's psychology and a unique sense of humor.
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