On the way home, I was still thinking about my so-called "anger at moth-to-fire love", I don't think so. What qualifications do I have to be angry with? I am not an independent woman who is determined and courageous, nor can I issue powerful questioning. The qualities (in feelings) that I love and admire are mostly projections.
Of course, these words don't seem to fit well here, they are more about the story itself, rather than this adaptation. But then I thought about two rationalities: 1. When I was young, I didn’t understand the original work at all (fortunately I was not moved by "love", but I didn’t have any other emotions), and I saw several adaptations of literary works in the middle. What feelings are left, but after reading it today, I carefully recalled this question on the way home from the end of the scene. Then, it must be directly related to this version 2. Joan Fontaine-slender and powerful-feelings are make some Difference, written below is not considered unfamiliar.
Back to the beginning of the moth to fight the fire. I think my anger doesn't come from "hating iron can't make steel" (people didn't want to make steel, and somehow they were quite steel when they said to their husband that he needs me), but the weak chicken that gave birth to myself. This kind of weak chicken nature allows me to draw a clear line as an adult-what quality I should give applause; what quality I should roll my eyes, isolate it, and avoid being affected by it-just, it is out of A self-preserving vigilance.
I also thought of "Floating Clouds" in the middle. Of course, it is incomparable. At least Tomioka and Stefan are two people. But at the time, my biggest feeling about "Floating Clouds" (also written in the short review) was, "I don't understand why I am so sympathetic to Xuezi, and I obviously want to retain some self-esteem, but I thought I was finally waiting for hope. I still have no hesitation in giving up my self-esteem." Lisa didn't have this point, which made her look more like a moth.
Woman, Zweig's tool man.
Opheles really loves to make dance scenes, and the amusement park is too modern. The overlapping glitzy shots from the left and right of the opera house, together with Lisa's coat, blinded the trembling and crumbling young girl's mood.
It's all too powerful. I was just scared.
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