Foreman's day-to-day preoccupation is likely somewhat influenced by Passel, who has written and assisted him since his debut. In the previous work "Black Peter", the method of spreading the narrative into the daily life of every detail finally shows its light in this "Blonde Love". Viewers have to put up with those long paragraphs, and it's the long, grueling boredom that allows the film's humor to shine through and the plot to move forward. The scene where one of the trio of officers at the ball is looking for the dropped ring is one of Foreman's directorial splendours. The unhurried music and vocals at the dance party, the joyful crowd dancing in obliviousness, and the guests sitting on the table looking at other plans, were wonderfully brought together by the accidental event of "finding the ring" in this short paragraph. And in the passage of the young pianist and the blond girl having an affair, the curtains that can't be drawn appear as "everyday", and they subtly tease the vainness of this night's passion. The girl came to the door, the pianist's father and mother repeatedly turned on and off the porch lights when she opened the door for the girl twice, and the parents had an unusual back-and-forth during their conversations (we see the father hit each time Here, the father always raised his head to speak in the initial state of bowing his head, as if time would not move forward here), and after the lengthy quarrel between the father, mother, and the pianist on the bed, the girl finally sat outside the door. Silent weeping gathered enough strength.
View more about A Blonde in Love reviews
