For girls, watching American dramas and Korean dramas on mobile phones or computers is a pastime in the current Internet age, but it is also watching TV dramas in the United States in the 1950s with a different player-TV. There may be another kind of symbol-the lonely housewife kills time and kills the day's "tiaodan". It is a bit shame to say it, but the essence is basically the same.
In 1955, "Deep Locked in the Spring Festival" is a description of the ups and downs of the "imprisonment" under this appearance, and it is euphemistic and moving. Although it is a Hollywood studio film, it has always been highly compelling. It is included in the so-called "CC Standard". Based on this alone, we cannot treat it as a "love dog blood film at eight o'clock in the evening", even though the film tells an out-and-out vulgar love story at the story level. , But because of that little "different", it has become a "feminist" movie.
The story is about a long-lasting love between the wealthy middle-class widow Carrie and her young gardener Ron En, although like many love stories, they have experienced the tests of their friends, the rumors of the neighbors, and the accusations of their families. But in the end, some lovers finally got married, and a perfect ending came. However, this story is because the Americans are telling. If you change to another country, you may have a different ending. In Korea, it may be powerless like the "Melting Pot", and in Denmark, it may be jealous like the hunt. .
The reason why a love movie is compared with two films in Eurasian countries that have nothing to do with love is that they are all about "prejudice." In "The Forge", everyone trusts the principal without believing in disadvantaged deaf and mute children; "The Hunt" is just the opposite. The residents of the small town are convinced that what the little girl says is true, and the male teacher is the embodiment of evil; "Deep Locking in the Spring and the First Hospital" is the prejudice of the wealthy middle class towards lower-level workers.
It is not easy to put a "prejudice" in place. Moreover, the director Douglas Seck does not want to directly offend the middle class, so he is quite euphemistic in the handling of the plot, such as the daughter's "repentance", the doctor's advice and friends Sarah's kindness and understanding, but this kind of side brush is more ironic. Sarah’s behavior is more like a vain and frustration among middle-class housewives. Her daughter’s "regrets" is more of a kind of "after the fact" compensation, but she is still conservative in her heart. Ide’s theory shows that he is enlightened, and the later daughter’s "sensible" will only add to her hypocrisy and inconsistency; and the doctor, perhaps just the director’s helpless design to promote Carey’s behavior!
In fact, the "prejudice" of this group of middle-class people is only for the male protagonist Ron En, and is not "prejudice" for Kerry, but restriction, imprisonment and moral bondage. In fact, for Ron En, "prejudice" is nothing. Because of the personality of the person, Ron doesn’t care about the opinions of others, but as a widowed and two adult children, this "prejudice" is one. This kind of public opinion is imprisoned. On the surface, it is very open. It not only allows but also encourages Kerry to find a sunset partner. However, this permission is selective. She must look for it in the middle-class social circle and must be of a similar age. The so-called "love" "It's not the right of the widow Kerry. It's what she can do to find a suitable and decent person to form a proper relationship between men and women. (It can be seen from the beginning of the date when she and the elderly Xia Fei were encouraged and supported by her children.)
Carrie itself is not the kind of woman who gives up her true love when people around her are scared, but when she faces her children being rumorsed and "warned" that they must be separated from Ron, she has to make concessions. The most terrible thing that social ethics imprisoned for women is not from external intimidation, but that women themselves have been domesticated. She "must" consider her children, and she "must" bear the responsibilities of a mother, in other words, she must "be a mother" What should be done", this "ought" is the ultimate "tragedy of destiny" for women.
There is an unusually ironic scene. At the beginning, Kerry gave up her true love because she had children with her, and was "ordered" by her son. The ancestral house had to stay, but when she decided to give up her true love, her daughter would marry the next year. The son is about to go to school in Paris and then to work in Iran. He was "notified" by his son: "The ancestral house is too big. Living alone is a waste. Let's sell it later!" This kind of absurd situation can be said to be ridiculous. What’s even more ridiculous is that at the very beginning, Kerry hated "TV" (because it represents the emptiness of middle-aged women), but in the end the children who were about to leave saved money to buy her a TV. Finally, the Kerry mirror image on the TV screen, we know that the children are actually funerals for the rest of Kerry's life.
"Deep Locked in the Spring" does not want this kind of oppression of women to hit the nail on the head, but tries to express this social status quo with "curved pen", which may cater to the director Seke's view. It is more effective to talk about pain than to express anger exposingly!
This article first published the "Baidu Movie Bar" public account
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