the director said

In a sense, "The Story of Adele Hugo" is a love story, but this is not a proof of love, but a dissection and disprovement of the discourse of love. "Her story is an anatomy of a character's inner passion", which we can also see as a triangular story, as Adele is always taking back Hiramatsu from "another woman." But just as the film shows a false love, it also presents a false "triangle": except in Adele's heart, she and Hiramatsu have never entered into a one-on-one love relationship in any sense, she Neither did Hiramatsu's relationship with the many "other women" constitute a competitor or another character with any emotional "capital". In Adele, it is not so much that she falls madly and desperately in love with Hiramatsu herself, but madly and desperately in love with her own love for Hiramatsu; it is not so much that she bravely transcends her time ("A young girl, To cross the ocean alone, from the old world to the new world, to be with her lover—I will finish this difficult thing.”), to love beyond the rules of class, etiquette, and gender, it is better to say that she loves It was her own feat of transcendence. Hiramatsu just provided her with an apt object, or even an excuse, for this feat. Truffaut clearly defines "Adele as a man of supposedly false character." At the same time, it is Adele's story that provides Truffaut with an equally appropriate object and pretext for his retelling "The Truffaut Story": The "black hole" of the human mind, the absurdity of survival, and the cruel comedy.

The Adele Hugo Story is a true story. Because Adele is a real person in history, the daughter of a generation of literary guru Victor Hugo, who has created for herself a very tragic and extraordinary experience, alone, by the name of Miss Hugo At the age of 85, she left several diaries written in ciphers. However, the film "The Adele Hugo Story" is not a "biographical film" in the narrow sense, nor is it an "adaptation" of Adele's diary (although there is no doubt that Adele's diary is one of the film's important materials). 1), Truffaut uses this true story to present a "false character", making it a case case of a spiritual mystery.

In The Story of Adele Hugo, Truffaut presents Adele as a woman with an Antigone personality. As the contemporary American female writer Joyce Carroll Oates said: "Antigone makes people think that tragedy is caused by clinging to a particular way of life or a kind of essence, Antigone" The tragedy of Gogne is that she is herself and no one else. I am inspired: this may be the nature of tragedy - albeit simple. It is impossible for the sentimental person to believe that things are artificial, or at least should strive to be. Understand that. This is the tragedy of existence—the universal dilemma." It could also be an interpretation of Adele. Truffaut's Adele is unique in that her tragedy is a tragedy of character, and her character is a "fake" character. It is not so much that Adele's character creates an irreparable tragedy, but that she creates a tragedy for herself to confirm and shape a character; Adele's tragedy is not that "she is herself, not Others", but in that she believes that only when a tragedy is accomplished by herself can she become herself and not someone else, not "other" in the sense given by the name of others. And the latter was the common and almost inescapable fate of women in Adele's day: they could only be the daughters of their fathers (especially when she had a famous father), the wives of their husbands; the luckiest of them all , but also women who wrote under the names of men: like George Sand, or George Eliot. Adele's tragedy lies in her obsession with the tragic fate. This is not destiny or destiny, but Adele's conscious desire: she wants to use her whole life to make a great, immortal, and only her own story; in her view, only a tragedy can satisfy a great narrative. Therefore, it is not the inescapable fate of the tragedy, but Adele's deliberate creation and capture of the tragic opportunity. It is in this sense that she becomes an Antigone character: she is not killed by her inability to adapt to society and reality, but by her refusal to compromise and adapt; she is not driven to madness by her inability to distinguish between reality and imagination, but It is because she lives tenaciously and stubbornly in the world created by her heart. Thus, "she wrestled in a battle destined to lose". It would take her straight to the tragedy she longed for, and that tragedy would name her - make her immortal as herself.

An Antigone-like character, Truffaut crafted the Adele Hugo story as a vicious circle of multiple escapes and arrests.

Adele's tragedy is because she was fortunate enough to be born into an extraordinary family, the daughter of a great man. As a result, her life is doomed to be hidden in the shadow cast by her father, Victor Hugo's brilliance. But Adele is not content with the fate she was born with, she is looking for an opportunity to escape from her luck, from her father's near-ubiquitous light. Only then will she have the chance to be herself and make her own name meaningful. Adele had to escape more than that: in addition to a great father, she also had a famous sister: Leipold, who made her name the world's for a heartbreaking love tragedy known. All normal marriages, even happy ones, would appear mediocre, boring and disdainful by Leipold's side. Great love is the love of obstacles and shatters all obstacles. In fact, Victor Hugo and Leipold are the most important "absentees" in the film. Adele's tragedy is being caught in an escape. Her attempt to overcome her father in her father's way - writing, and Leipoldi's way - with an unusual love, means that she places herself in the position of a derailer, which means As she threw herself into a battle that was doomed to lose. From a confident escape, to trying to complete the escape in a way of getting caught: Adele went from hiding her identity as Miss Hugo to using it by any means: she forced her father to issue a document agreeing to her own marriage, To using his name in exchange for the "help" of the charlatans - it's a funny scene: Adele backstage at the vaudeville, with her slender, gloved fingers on a dirty, dusty side. Victor Hugo's name was written on the mirror, and it was immediately wiped off. Until she realized that being Miss Hugo, the daughter of Victor Hugo, was all and only her dignity and worth. Her final words to the good Mrs. Sanders were: "You are wrong, Mrs. Sanders. I was the one who refused to marry. I think marriage is a depravity for women, especially women like me. My Work requires celibacy, that's what my father thought. I'll never give up the title Miss Hugo." The only moment in the film she is identified is when people recognize her as Miss Hugo.

In "The Adele Hugo Story", Adele seems to be a woman wrapped in a lot of lies. Throughout the film, Adele is lying; she is always substituting one lie for another. The film defines the nature of its lie with a certain sculptural means: the mirror image becomes the visual counterpart of the lie. But it is clear that Adele is not a woman who takes pleasure in lying. With Adele, lies are just a means of realizing what is true in her heart—her love with Hiramatsu. Everything revolves around this reality. Yet this is the heart of what is being said: the truth in Adele's heart, and Adele's only truth, is at the heart of all lies. The difference is that it is not directed at others, it is directed only at Adele herself. She is the only believer and victim of all the lies. In fact, in the film, Adele never fools anyone, but she walks into her own trap with her eyes wide open. This "ability" to replace the lie with the truth in one's own heart is exactly what is called Antigone's character. In a sense, Adele didn't suffer "special" misfortune. Her story of peace and pine is just one of the old tales that keep repeating: the beginning and the end. The uniqueness of "The Adele Hugo Story" is how Adele interprets the story in her own mind. Adele's behavior, Adele's almost paranoid obsessions and eccentricities are based on her own interpretation of this old story: "I know you won't forget me when a woman like me puts her When I give myself to a man, she is his wife. I will not cry any more. No man can exchange his father and children, nor his wife and husband. I will always be your wife until Death separates us." This is Adele's logic and fallacy. In fact, this is the heart of the arrest in Adele's escape. "From the Old World to the New World", Adele is not only a woman who bravely crosses the ocean for love, Adele is also a woman who spans centuries. She transcended her time, she made herself the master of her own destiny. But her practice of her freedom is another way of being tethered to a man, and she names herself the wife of a man who disdains her. For her, only as his wife can she realize her love. Only love that is accomplished through marriage can be a great, undying love. Only when she wins the title of wife for herself can she record the love and win the world's attention for herself. She was, after all, the daughter of her time.

An interesting thing about the film "The Story of Adele Hugo" is that Truffaut presents Adele's tragedy as the tragedy of a specific character in a specific era. At the same time, he presents Adele's story as a historical story in a specific film language. For film art, the apparent reality of history in the strict sense cannot be recovered or reproduced. When you try to restore the historical appearance of a certain era, a more ingenious way is to simulate or restore the media characteristics of the representative art at that time. The Adele Hugo Story appears to be a success. As a story of the 19th century, the entire visual style of the film is a simulation and reproduction of the visual style of the mainstream art of that era, namely the classic oil painting. Trending towards the same, unsaturated environment and clothing coloring, the use of direct light, backlighting and side backlighting has formed a brownish-red tone with large shadows and emphasis on detail levels, as a "composed for solo instruments". "Music", a large number of Adele's close-up and close-up shots in the film have become a classic portrait. The only exception is the intuitive presentation of Adele's Heart Image, which is a panorama, a young Adele in white standing by the rocks on the coast, looking out at the sea, "she seemed to Declaring her belief in the future": "A young girl...". It appeared as an overprint and reappeared as the final frame at the end of the film. Only this picture adopts the style of early portrait photography, which deviates from the overall visual style of the film and becomes a direct presentation of Adele as a derailer of an era, a woman who spans a century.

The film "The Story of Adele Hugo" analyzes and presents a unique woman, a case of a spiritual case. At the same time, it is a thin offering to Adele through the twilight of the years.