I once read this sentence: "Every man has a Vivien Leigh in his heart." In fact, some women do too, such as me. After watching "Soul Broken Blue Bridge" last night, the goddess's pretty little face, her charming eyes like a kitten, and a sweet smile that rose slightly at the corners of her mouth were always in my mind. Hao Sijia in "Gone with the Wind" is the pinnacle of Vivien Leigh's appearance, but the slightly sad purity in "Blue Bridge" is the beauty that cannot be seen in the former. Oh ~ the beautiful Vivien Leigh, the heart-warming Mara, so much so that she just woke up in the morning, and she was still in my mind.
Watching movies at station B, barrage is a double-edged sword. Sometimes it feels lively and interesting, and sometimes it feels childish and boring, so I always turn the barrage on and off to watch. In the barrage of "Soul Broken Blue Bridge", many people said that the heroine "made", saying that there was something wrong with her character. It's true that this movie is a huge mistake and a love tragedy caused by the promotion of the heroine's character, but I really can't say that the heroine "made it".
After thinking about it for a while, what kind of character would an orphan who had no parents and no mother since he was a child, and who had to look at other people's faces to make a living. According to my analysis, there may be three kinds of personalities: the first one is extremely practical and utilitarian, putting sensibility and emotion at the end, and making up your mind early so that you can have a good life that is not despised by others. The second type is indifferent in appearance, out of character in words and deeds, belonging to the fringe of society, and wrapped in a rebellious shell is a heart that does not believe that good things will come to him. The third type is docile and gentle, extremely considerate of others, and afraid of making mistakes in everything. Behind the cute appearance of a little sheep, there is the essence of inferiority and pessimism. Mara, unfortunately, is closer to the third. Coupled with the British social environment during the First World War, people's status was strictly hierarchical, women were only embellishments in the patriarchal world, there was no freedom in personal life, and employment opportunities were minimal (how did the heroine in "Sin House" die? !!), in such a big environment, it is really difficult to have a very healthy and optimistic character.
In the past I only believed in "character determines destiny", and now I also believe in "destiny determines character". The fate of the liu will create the character of the liu, and the character of the liu will continue to beautify or worsen the fate of the liu, which is often a virtuous or vicious circle. There are many examples of "man will conquer the sky", but it requires too much perseverance, courage, wisdom, and more: luck.
So Mara's ending is almost doomed, and there is no way for anyone to change the track for the train of her destiny.
One of the places where people complain about in the film is when Mara meets Roy's mother in a cafe. Mara, who just learned about the "death" of her sweetheart from the newspaper, was extremely gaffe and incoherent on this date. Most importantly, she threw the bad news newspaper under the chair and did not communicate with Roy's mother. , without even hugging and crying.
Many people feel that if there was good communication at the time, it would be fine. Not to mention that this scene is the key to the development of the film's plot, it can only be arranged in this way. I just say that I personally feel that even if someone who is not the heroine's character, just change to someone who understands others, they will make the same choice. . Because, in that wartime period of panic, facing a mother who would worry about her son on the battlefield, how could you let her collapse in pain? The heroine firmly believes that the hero has died in battle. With great affection for her fiancé, she loves the house and Wu. Seeing that elegant, noble and happy mother, she will naturally not smash the "bad news" on her heart and hurt her. Bloody. Bad news, it's always good for her to know one day later. It's also good for her to bear the pain later. This bitter cup of farewell, let me drink it for her first. This is probably the thoughtfulness of the heroine. It's a pity that good luck makes people, the sky has no eyes, and happiness never favors good-hearted people.
The second thing in the film that many people don't understand is: Why didn't the heroine tell the hero first about her past life, but tell his mother? Why does the man's whole family treat her so well, and the male protagonist Roy may not mind what happened to her, but she still chooses to leave or even commit suicide! ?
I didn't tell Roy because of cowardice. The so-called "closer to nostalgia is more timid", and facing the only person he loves in his life, he will be humble and cowardly, unable to speak. This is all too normal. If I tell you, I don’t know if you will be disappointed in me, I don’t know if I will hurt you, and I don’t know where we will go in the future, so I don’t dare to think about it. Then I can only drag on like this, I can't find the time and I don't have the courage to speak. These thoughts make my eyes full of fear, but I still can't tell the truth. People who don't understand the heroine's behavior are probably still at an age when they don't understand love. Many times, love will make people not talk, express or communicate. Love is the biggest barrier. Until the end, Mara has been torn apart by the secret and guilt in her heart, she must find an outlet to vent this pain, so she can only find Roy's mother, because she is a vital part of the relationship because she is the one who has to explain to him, because she, like herself, is someone who truly loves Roy.
It's that simple, and it's that complicated.
Mara chose to leave because of a huge pressure. In Britain at that time, senior officers were generally people of the aristocratic class. Roy's status is noble, his family background is prominent, his uncle's status is lofty, his neighbors are not ordinary people, and the British thinking at that time was very conservative and rigid. Yes, the heroine is tired and scared. The world she has to face is a world she has never touched and understood before. In her eyes, this world is compared with her "dirty and depraved". An inviolable "noble holiness". Therefore, she had no way to fight against this holiness, no way to shame the other's family, no way to put Roy in a dilemma, and no way to deal with the crisis-ridden future marriage life. There is no way for her to use her slightly brittle self to collide with reality as hard as a stone.
I don't want to say "it's all the fault of society, it's all the fault of the times", but it is indeed the pressure of society, the pressure of the times, and the pressure of love that made Mara make a decisive choice.
After that, the plot went all the way down, and Mara's fate has fallen to the gate of hell, and she can't get up again. There used to be a very fashionable saying, "fall in love". Such as Cui Yingying, such as Du Liniang, such as Zhang Ailing. The women in these stories or in reality, at the age of youth, have gained too much indirect experience about love from the book, but there is no opportunity for them to practice. So when they meet someone, they empathize with their fantasies about love. Even if the other person is mediocre or despicable, they will use their great enthusiasm and imagination to package it and turn the other person into their favorite. looks like.
How did Mara and Roy fall in love instantly and then got married? Of course, this may be because the other party is too strong in appearance, or because of his personality, or because she is moved by his enthusiasm and affection. But I think that what she really loves may not be entirely the person himself, nor is it "falling in love", but falling in love with something deeper.
What she fell in love with might be the compensation for the loveless years in the past 20 years, the thoughtfulness of someone other than her best friend who could care for her, the release of her suppressed life, or the possibility of a pale and hopeless future. . Many, many, what she fell in love with was all the lack in her life. For her, Roy was the representative of love and affection, the hope of all, and the happiness of all.
And when this kind of happiness has been lost and found again and again, when she knows that it is no longer possible to obtain happiness, it is the collapse of her entire life and all her hopes.
Better go home. At this time, death is instead a great tenderness, an absolute relief, freeing her from all the loss in the world.
"Today is a great joy, but the danger of giving up is fragile. There is no anger or worry, would it be better not to celebrate?" This was originally half of the poem I admired very much, because it is full of open-mindedness towards death and full of wisdom. But today it seems that there is always melancholy.
This is a poignant love, this is a tragic life, this is a poignant girl.
I love Vivien Leigh, only she can interpret such Mara. When she saw Roy returning at the station, her eyes went from empty to shocked, from shock to disbelief, from disbelief to a huge sadness. In just a few seconds, she was completely exhausted, shocking the audience, and then distressed.
This diary, to Vivien Leigh, to Marla.
View more about Waterloo Bridge reviews
