Just finished reading it, I really like it, a little too much, I must write it down now when my mind is clear.
The drama and emotional flow are so delicate, not a single penny, tense until the very last moment. I can fully appreciate the author's strong control over the story.
The film begins by creating a confined space full of noise and dust, and the director is patient enough to create such an absolute environment in which the protagonist Olivier lives in such an absolute, somewhat suffocating environment.
He already knew that the teenager who killed his son was in the activity center, but he was expressionless. His past life experience had not taught him how to face the murderer who killed his son. He could only be expressionless.
Olivier's reason for accepting the teenager was nuanced, yet 100% absolute: his ex-wife came to tell him she was pregnant.
The scene is essentially saying that the ex-wife has worked hard to get out of her past life, but he didn't, he stayed where he was, and he's really only one person now. He may not have realized it himself, but now the only person who really has anything to do with his dead son is the teenager who killed him.
Although he remained expressionless.
Olivier accepts the teenager, and their relationship is delicate. Olivier has mixed feelings for the boy. Of course he hates him, but he is also curious about what kind of person the murderer is. He may expect the boy to be a hateful and naughty boy, so that his hatred can be stronger and more absolute. , maybe he can take this opportunity to get revenge.
But he soon realized that the teenager was not hateful. He was tough, silent, sincere, and even full of trust in himself.
The most external and best scene of their relationship is when two people are standing on the side of the road. The teenager asks Olivier after learning that Olivier can accurately visually measure the distance, "Then look at the relationship between the two of us. How far is it?"
Olivier's mood was more complicated. Still expressionless, he opened his mouth and took a big mouthful of bread.
Both actors are so good, they just stand there and the character is established, they are like the established character itself.
When Oliver's ex-wife found out her husband was walking with her son's killer and asked him why he did it, Olivier said, I don't know.
Of course he didn't know. He hasn't come out yet.
Olivier tries to find out who the killer of his son is, even sneaking into his room. The symbolic meaning of this action is too strong, and the room is the most difficult place to hide a person's true appearance.
I noticed director Olivier adjusting his battered leather belt repeatedly and practicing sit-ups on the floor over and over again. His bloated and clumsy body was spread out on the ground, and his eyes were so weak that he could barely wear a lens. What is he doing? Why do you want to do this?
I think he was trying to control his life. Starting with controlling his body and figure, he wanted too much to control it all. How alienated the setting is at first glance, but with Olivier, everything is unified. A middle-aged man who was forever nailed to the past by the pain of bereavement. He's a carpenter and knows how to put a nail into a plank, but he can't pull out the self that's been nailed to the past.
He is contradictory. At first, he refused to call the boy's name, and then went to the bakery and asked them to pay for the bread separately. He didn't expect that the boy would ask him to be his guardian, maybe it was from that moment that he realized that the murderer of his own son was also a powerless, lonely and pure son of others. A foosball game left both the audience and Olivier in a state of disarray.
The treatment at the end of the lumber mill is what moved me the most. Sensitive viewers should be on edge at this point: this seems like the perfect time for Olivier's revenge. Several times he stood behind the teenager, seemingly effortlessly strangling him by the neck, strangling him like he had strangled his own son. However, the director just took the trouble to follow the two people to recognize and move the wood. It was so calm that there was almost a sense of harmony, and the sound of their breathing was about to pour out of the screen. This seemingly harmonious moment is actually undercurrent, Olivier has mixed hatred in his heart, but he also knows that in the young man's heart may be a twisted attachment that is almost close to his father's feelings.
Darnay would never let Olivier kill the boy, they were not authors like that.
They want a more absolute, stinging, and more humanistic look. They want Olivier and the boy to roll in the mud, let Olivier ride on the boy who killed his son, and strangle him by the neck as he did when he killed his son, with just a little force to complete his revenge. They want this look, and then let Olivier let go, and he's on the ground, gasping for breath.
No need to say a word, everything is explained clearly. Both revenge and reconciliation took place.
Dane is the author with the best ending. After the boy was released, he returned to Olivier, covered in mud, and the two of them carried the wood together and walked away.
Not a word needs to be said. Two lonely people so fierce and so alive. I don't even want to discuss the subject of a higher level, I just want to deeply remember these two people. For me, such movies are the best movies.
Their lives will not get better, and perhaps they will continue to live silently with their heavy pasts on their backs.
But Olivier might be able to take off the old leather belt he was clinging so tightly around his waist that it almost broke.
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