This is his last film before his death, and it can be seen that he is skilled in creating atmosphere and narrative, compared to "Love is Colder than Death".
I don't know if being bisexual is more helpful for understanding women's thinking, but most of the film's perspective is male, that of the sports reporter. He is a pure outsider, not even a former movie fan of the heroine, and needs to rely on his colleagues at the newspaper to know who she is.
For men, this woman is like a product of another time and space. The entertainment industry, big stars, dignitaries, the last era, war, beauty, hysteria, elusiveness... Maybe these are the reasons that attract men. Much like "Femme fatale" in classic film noir.
In an interesting episode in the middle, the pair of elderly people who seek the help of doctors are apparently victims of concentration camps, with a number on their arms, and the heroine is obviously a Nazi propaganda star. In the end, he chose morphine for anesthesia and abandoned the property, and it was all over.
In the end, no one goes after the evil doctors and officials, who enjoy the mansion of the female star. And after the male protagonist's girlfriend was murdered, he obviously didn't intend to explore anything else ~ there was no "real" resistance to stop him from continuing to investigate, so it was understood that giving up was his choice.
Using narcotics for the rest of your life is a choice for life, and it's hard to say right or wrong. Looking at the director's own experience and the final outcome, I believe his attitude towards narcotics is also very vague.
There are always things that you can't deal with.
The style of the film is still imprinted by the director, and many static deep-focus telephoto shots are obviously staged and beautiful in form. The characters in the picture show a unique shape for no specific reason. As for the man who showed up at the clinic in military uniform... always confused about his identity. soldier? Drug dealer? thugs? doll? ... In a scene where the heroine is saying goodbye, he is in a close-up of a deep focus lens, as if looking at the heroine, and her ex-husband seems to be looking at the man. The heroine tells the reporters about his plans (fantasy or lies). The ex-husband stares blankly at the man in military uniform as the hero walks past him, followed by another person. The camera is pushed to the ex-husband... At that time, I felt that the man in military uniform was like a symbol of drugs... The ex-husband was between women and drugs, but the last shot of the back shot seemed to say that the ex-husband chose himself and gave up on women.
There are still many shots full of beauty of shape and form, obviously there are traces of stage performance, and it is very fascinating to use in it.
Another fascinating passage is when the hero's girlfriend returns the vase to the female star's mansion for him. He lingered in the old mansion covered with cloth, and the music played non-dramatic, melodious electro-acoustic light music, the only thing he could think of was the kind of small electro-acoustic bands in Hawaii. The girlfriend turned on the piano, the non-plot music stopped, and the voice changed to plot music. The girl hummed and played a short segment of the song and stopped, and then the non-plot music just played again. It felt like the girl had traveled through time, back into a past time and space. The cloth-covered mansion also seemed sweet. In the next scene the heroine calls the producer, which is a disappointing scene. The voice cut directly over was the singing voice of a man in military uniform, as if it brought people back to reality. Regarding the music, many passages use the sound of the timpani, but the longest and most complete passage is the song that the heroine sang at the farewell party, the elegy for herself.
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