It was somewhat ironic when François' lover Émilie said, "I'm so happy," because all the while he thought he loved his wife as much, and as he murmured, I touch first When it comes to my wife, so she becomes my wife, if I meet you first (referring to Émilie), then you are my wife, and I love you as much as I love her. But what is love, or rather love? How much recognition can a man who talks in a woman's crotch talk about his love for this woman as for another woman? Or most, if not all, men can do it, both women are beautiful after all.
The so-called love is not always there, it is certain that love is the product of the so-called civilization. People in the lower stage of the ignorant era of human society do not need love. Survival and maintaining the reproduction of the race are the first things. When human beings are still in the group of blood-related clans, a male is born the husband of all the women in the clan. Even his mother, and all his blood sisters, the same woman was born the wife of all the men in the clan, naturally including her father and all her blood brothers. For this, we don't need to be surprised, and we don't need to be ashamed of our ancestors before the N-th power. This is an inherent law of evolution. When naked men and women have no civilized rules and regulations, in the eyes of men Here, she's just a woman. And the monogamy of the origin of the family is only a product of the barbarian era due to the development of production tools and productive forces, the clan members in order to keep their property within the clan, that is, the children who can be clearly determined by monogamy. Therefore, in the growth of property and hope Monogamy was brought about on the premise of the will to pass on property to children. At the same time, when prostitution, which supplements monogamy, increasingly threatens the stability of monogamy, advocacy of love has become a necessary way to maintain social ethics and family stability. In a sense, monogamy has an instinct against human animal nature, so this shows the greatness of love even more.
Therefore, for most of the film, I could feel the questioning of the director, Agnes Varda, about love. François' muttering does not preclude the third, fourth, or even more girls to tell, too fraternity to some extent just becomes unloving, handsome and seemingly innocent François in one of us. Uncertain purpose, ignoring the most important factor in love, loyalty. Thus, love has become an excuse for a certain period of physical impulse, and the beauty of Émilie is the best reason for love. From another point of view, when François galloping on Émilie keeps saying that he loves his wife Therese as much, Therese is also talking about the same true love for the man and François under the crotch of a handsome man, then that handsome man Would you give Therese the same love, or would Therese just after her orgasm with François sweetly tell François the same love she had for another man, and another man, and during sex, François Will you still be so calm, will you still feel happy at the moment of every kiss, after every climax, probably not?
When the regulations of civilization further exaggerate the instinct of human jealousy, every cheating will inevitably become a time bomb of love, so Therese's suicide is the way Agnesvarda needs, which reduces the story in other sub-lines The complexity of the narrative complies with the director's requirements for emotional expression. As Fassbender said, the simpler the story, the more the audience can understand its truth, which is almost the habit of most European literary film directors. Émilie takes Therese's place logically, repeating what Therese has done in Agnesvarda's deliberately rigid shots, as if she was always here, unchanged, and Therese is just a distant memory, Deeply forgotten in the Valley of Strange Hearts, only occasionally, François will say, I want to go for a walk alone, and then take the two children left by Émilie and Therese to walk happily through the fallen leaves in the fields, and life goes on as usual , blurred in a fixed shot. However, such a shot is shocking enough, not only because of forgetting, but more importantly, when Émilie completely replaced Therese, we don’t know if there is another Émilie in the distance where the shot extends With her charming beautiful smile.
Film information:
"Happiness", director: Agnes Varda. Starring: Jean-Claude Drouot, Claire Drouot, Marie-France Boyer. 1965.
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