S: "You married above your intellect and don't take kindly to disadvantage."
C: "You forgave, but with no mercy."
Even if S is in the knot of let man down, at least they used to be attracted to each other and deeply concerned. But the conflict of characters only made them torment each other more: S, who lacked self-confidence, always hoped that C would prove his love in an irrational way, as well as the absolute control of S; and C would rather die than betray the principle gentleman. Eventually, S ruined C's life and made him lose everything he ever cherished, oh, including herself. Even in the last moment of S revealing his heart, he did not forget to play a prank and push C into the abyss again. When S uses up the last piece that can make C grief to the point of insanity, their relationship is doomed.
Valentine & Christopher
one is pure because of innocence, the other is self-disciplined because of old-fashioned. Personally and mentally, they are both a match made in heaven and earth, but they are also such a personality that suppresses lust for many years.
Although V is set as a suffragette in the play, she is always a little woman in this relationship, silently waiting for C's parade's end.
In many scenes where S deliberately walked away from C, the camera followed C's lonely and sad figure, and returned to S's disappointed and attached eyes, both of them were so angry, helpless and unwilling to give in.
This is the biggest difference between V and S: V succumbed at the beginning, bowing obediently to C's admiration. In fact, C is such a soft-hearted person, embracing tenderness and enthusiasm that has nowhere to go. When S held his head high and desperately charged towards C's rational high wall, smashing his head into blood, and gradually becoming unable to return, V just bowed his head gently, bypassing the copper wall and entering his heart.
In the five episodes of The
Story until the last five minutes, none of the three were happy, not a single moment, except for the brief morning light when V&C first met (or S&C's car shock...?). Coupled with the fact that the other characters are not good enough, the whole story is very depressing.
And the tragedy of these three people played a key role in C's criterion, the parade, which made him unable to say "I'm sorry" to S, and unable to say "I love you" to V, which also made him suffer the most. of a person.
Fortunately, the last five minutes were warm enough, bringing with them the aura of the end of the war, peace and a new life in England, so that I could lift a little bit of spirit at the end of the five-hour repression.
The show's clothes and scenes are exquisite and elegant, and C's image is deeply ingrained, many of which are stark examples of the so-called English Gentleman. Such a theme, coupled with the use of such three powerful movie stars as a mini-series, can see the producer's ambition to create another British Telly Icon.
It's a pity that the rhythm of the story is quite problematic. In many places, the characters' personalities change and the plot jumps are inexplicable, which is obviously the result of unclear explanation. At the same time, the details in other places are boring and long-winded. The performances of the three protagonists are all very eye-catching, and their images are really inflexible - C is just pouting and crying, S is just mad at the world, and V is just blurry and naive. It is said that the original novel is a masterpiece, and the story itself is moving enough, so I probably can only shrug at the director.
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