Life is layered upon layers, and we often inevitably touch the old traces of the past in fresh encounters. The experience is like Melanie - when she was a child in the music examination room, the teacher's conversation affected her examination mood, and she closed the door of playing the piano after missing the music school - such a lack, many years later, when she saw that because of her What will a teacher who ignores and changes the trajectory of his life do? "The Girl Who Turned the Sheet Music" is about revenge, but obviously it's not talking about a single story of revenge that Melanie, who was severely traumatized to become an adult, personally ended and cleaned up - in fact, anger will gradually become weak. Problems will gradually become invisible. What she has done, what she has lost, what "she" has done, this has long been her life. The film played down this point, but when she saw the person who had let her down for life many years later, when the achievements and temperament of "her" still made her look up and admire involuntarily, when "she" was still right Is her heart pure when she has a strange, highly dependent feeling? Her grievance was pulled back to reality a little bit, and more importantly, at this time, she would have a desire to manipulate everything. The desire for control and a vague sense of inferiority are the source of all these confrontations and confrontations. The linear story of the film by time, the natural order of emotion. A lot of processing is very French.
I love that female musician. The actor's superb performance and many plot settings convey the feelings of empathy. The director is very delicate. For example, in expressing the extremely obscure and unspeakable attachment of the musician Melanie, the externalization of the musician's emotions is very detailed. Melanie and the musician's son were playing hide-and-seek in the garden, and the musician who came to ask them to eat looked at her, but seemed to be directly led by a force, and she also participated in the game involuntarily. The son is blindfolded and counting, and the tense rhythm is born because of this, Melanie blinks mischievously and turns to run away, the camera follows the musician, she walks fast, breathes quickly, and looks around, there are alternate shots of Melanie, Melanie Calmly and slowly move forward to her target. At this time, the musician's route entered the edge of the tall bushes, and she was caught in the middle of the tall bushes and the fence of the sports field. The family is both isolated and self-stubborn. Then, the musician saw Melanie behind a bush, she stopped, stood stiffly side by side with Melanie, with a shy look in her eyes, looking at Melanie, and strongly suppressing her panting. The sound effects just reinforce the sound of footsteps and breathing, deliberately eschewing the music. The subtractive treatment controls the rhythm and keeps the tension at a high point. Later, the son found them. The director did not express it directly, but when the strong voice of his son intervened outside the picture, it was replaced by a close-up picture of the short contact and release of the two hands side by side. It's wonderful, the tension is released in the process of sublimation. Such an arrangement emphasizes the feelings themselves, and makes the viewers feel strongly how at a loss the musicians are resting outside the camera. It also downplays the moral judgment of homosexuality itself.
At the end of the film, I remembered a book I read, a glass cutting person written by a Jiangxi female writer. She said that even if she had heard the sound of glass being cut and scratched a hundred times, she could not hold back her heartbeat for the hundredth time, and she would always have an embarrassing first impression on those who were engaged in this violent work. an impression. Glass is perhaps the most fragility and frailty of human emotions. Qi Qin has an old song called "Glass Heart" that he chanted repeatedly. When I saw the female pianist dizzy uncontrollably, I also heard the splendid sound of the glass shattering—the illusion is sometimes closer to the reality of the mind than the reality.
In such a story, Melanie feels to me like someone who cuts glass in the end when the musician collapses in an unwitting situation after being devastated by both the external family environment and the emotional destruction inside. Actions based on destroying true feelings are always disgusting.
But I think, if there is a follow-up to the story, and we meet again, I believe it can be waited for. When she is older, she will still forgive her.
The good thing about French cinema is that it doesn't forcefully impose some value on the viewer, anyway, you think.
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