I don't know anything about film theory, and I don't really like "important but bad" movies. Whether it is important in theory or in literary criticism, I don't think this is the "important" criterion for a good movie at all. Pull away. As far as this movie is concerned, I want to discuss a specific question: the hero ends up imagining the groom as the heroine and kisses him, why?
According to the plot, the answer can be yes, because the groom said that in order to kiss the bride, he must first kiss him in the way he kisses the bride. However, the protagonist just ends up having a few polite words with the bride - maybe they do end up kissing, but more likely not because the protagonist exaggerates when he kisses the groom thinking of him as the heroine (but the movie The performance is not exaggerated) - why?
Why didn't the last scene turn into a bittersweet scene in a Korean drama? Why doesn't the male lead really kiss the female lead? Isn't this more in line with the audience's expectations for ordinary pure love dramas? —But, first of all, does it matter? I think it's important. Many people think that this film does not provide reflections on youth, but only tells the director's sincere experience. On the contrary, I think "sincerity" has never been the benchmark for measuring a literary and artistic work.
The male protagonist repeatedly said in the movie that he did not even hold the female protagonist's hand, so she could not let others touch her hand. But he also knew that Fatty Ah He had a better time with the heroine—they must have held hands—not to mention the groom. When I think back to their date after college, I wonder: Aren't these two lovers already? Why maintain an "ambiguous" relationship in name for no apparent reason? ——We remember that the heroine told the hero in this scene that she was not as perfect as he imagined. But the male protagonist is indeed "naive", no matter what the other party says, he just insists that he likes the other party. In this sense, the "naive" of the male protagonist lies precisely in the fact that, in his view, the female protagonist is the embodiment of completeness, she is the concentrator of all beautiful ideas, she is absolutely beautiful—she is a purely and completely beautiful thing. Therefore, in the heart of the hero, the heroine is actually detached from the whole real, imperfect, fragmented, irreparable, prose-filled world, and becomes the kindness that only his poetic soul can communicate with (“I The world is nothing but your heart.") With such a "beautiful mind", the male protagonist cannot bear that others can touch the female protagonist who is the embodiment of absolute, pure truth, goodness and beauty, because not even he himself can do so a beautiful thing. This is not to say that the male protagonist's mind has not yet matured to grasp this beauty, but that this complete and pure beauty itself is an ungraspable divine being.
In the final wedding scene, the invitation said "Happy Newlyweds, My Youth". "My youth", do you mean the heroine? of course. Of course not only. In the audience's understanding, "youth" also represents the one-sided desire of "beautiful mind" to detach from this prose world, such as innocence, childishness, innocence, simplicity, etc. Except for the male lead, the other boys rushed to kiss the groom after seeing the male lead's actions, no doubt to fulfill the promise that the groom said they could kiss the bride in the same way. Is there something wrong? No - this is a girl they used to dream about and think about, and now, when they are completely lost, it seems understandable to satisfy the behavior that they have thought about countless times.
But this idea is probably diametrically opposite to that of the male protagonist, otherwise, the latter would not have to imagine the other party as the heroine when kissing the groom. The male protagonist probably knows that marriage means a completely different form of love, means that two people with specific characteristics form a small ethical unit, which must constantly encounter negation and itself includes negation in its interaction with reality. In the process of sexuality, realize oneself and complete oneself. Marriage means taking a solid step. From then on, we no longer think of each other as pure and absolute beauty, which means - holding hands, kissing, and tea with oil, salt, sauce and vinegar. But the male protagonist always refuses to admit that the female protagonist has changed: she has not changed from pure, absolute beauty, or rather reduced to something concrete and qualitative. For him, she was always unique and unique, and she was always the unattainable beauty.
Therefore, the hero and heroine must only be able to imagine the happy ending of the so-called "parallel universe". It is not because of accidental reasons that they cannot be together, but they cannot accept that being together means that the unattainable and divine Beauty can actually be grasped realistically—that is, negatively. This reminds me of the lyrics of the ending song in "The Girl Who Leapt Through Time": No matter who I am with in the future, you are unique and important to me.
Marriage is not a work of art, but a first love can and must be a work of art. Real life always carries a variety of conflicting links waiting to be reconciled. No value is purely self-sufficient, but the love of first love can show the overall beauty and harmony in a concrete aesthetic way. Religious untouchability. Perhaps a cold joke is appropriate here: the hero "chasing" the heroine is just like chasing after her, and when he reaches her, he surpasses her - we can't stand it, when the pure and complete, despite the It is a one-sided concept that sits in reality and becomes a certain, limited, and inherently imperfect form.
Can the male protagonist finally face the female protagonist who is married to a woman? I do not think so. But it doesn't matter; in the kiss with the groom, the concreteness of the image of the heroine, which exists in the "beautiful mind" of the hero, also finally disappears, and becomes a pure concept of "beauty" that exists independently... despite its It is one-sided, subjective, and self-enclosed, but aren’t the fragile values and dreams that all mortals hold to, precisely the fundamental attribution of individual “self-discipline” of modern people? In the future, the male protagonist may correct or "overcome" his naive "beautiful mind" with a mature view of love, but must that be desirable? ...
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