I hope God can bless my weird and hidden girl. The girl who thought she was attached to the God of Fortune ran and ran into the arms of the scumbag boy. A silly woman who knows that the future is unknown but still prepares a wedding dress. A drug addict who is addicted to motherly love. The street girl on the corner saw her friend starting to walk out of the park and get back on track, but she was not greedy for the care of her friend. The transgender "hot dad" only wants the child and wife to stay for her so that she can compensate in the future. The shop owner looked at the fellow gangster ladies in front of the counter, she wanted to become sisters and couldn't read the cynicism on their stiff faces. The old lady who has been in front of the maid all her life seems to be unable to be gentle to anyone, but because of the gentle smile of the boy back then, she is looking forward to leaving the cage.
There are also characters who have a wide heart and fat body (PS: Can Rebel Wilson and Taystee be locked up in a cell together?), a yoga teacher, Crazy Eyes who is fostered in a white family, and so on. They all have their own hopes. The people outside the bars are not doing well. WASP mother who prays for her daughter and son to be mainstream. The little man who published his girlfriend's prison history to the world for the sake of the article. The lawyer father, who felt that his child's girlfriend was not worthy, did not notice that the child's unhappy personality was not irrelevant to him. Because of the lack of love, the prison officers have all kinds of ways to obtain benefits that they only consider to be consolation.
But time goes by, maybe nothing can be done, maybe love is messed up, or maybe we made the wrong choice at the wrong time, and then we understand the fact that our mediocrity is not in line with the future. Just as Pipes had a conversation with a wheelchair girl in the bathroom: "When I stopped running around in the outside world, I started to be afraid. Because at this time the truth has nowhere to escape, for fear of losing the real me, for fear that this hateful person is the real me. 』
I remembered a passage from Yoko Ogawa in "The Museum of Silence": "My brother belongs to the kind of person who doesn't value possessions. He has no attachment. It should be because he understands the composition of all materials. Any expensive gem is just a combination of atoms, and even disgusting low-level animals have beautiful cell arrangements, and their appearance is just appearance and cover. Therefore, he pays more attention to the world that is invisible to the naked eye. He has always believed that "only when people realize how poor their eyes are, do they begin to know how to observe." Without the worries of Mad Men, master cleanse, soap, and Macy, when they realized that their ability to judge does not exist, or realized that some things are not worth the trouble of judgment, humans began to learn to observe carefully.
In this play, the main lines of each role cross let us first get to know the distinctive characters in prison, and then take a look at their ordinary lives in the past one by one. The contrast brought out by this narrative technique makes all kinds of anger and sorrow appear more profound, and highlights the unpredictability of life. Piper, the annoying prison school bully, was actually explaining this when analyzing Robert Frost's poem. Sometimes we don't choose to walk down a certain distance for any special reason, but it may send you to a destination you never expected. I especially like the little story of the running sister. When the boy couldn't catch up with her when she was young, he complained that she was just showing off. When she grew up, while escaping from the scene of the crime, she recalled the past and slowed down, but was stopped by the police.
The road may be driven by history to make a slow-paced choice in a certain second. Road, perhaps purely accidentally pressing the hunting and grabbing coincidence. The road may be a disaster to maintain justice. Road, it is the boring society that forces certain demographics to go to nowhere (the situation of my favorite Xiao Kekou being imprisoned again is very common). In the play, the director did not try to paint the character as a victim. They are cheap, they are cruel, they are selfish. However, after seeing the original intention of their stories, we seem to understand their choices and even discover the cuteness behind their shortcomings.
In addition to the creation of a visual atmosphere, he is more and more admired for the courage of American drama directors not to write stories to please the audience. Asian directors and screenwriters should learn more from this type of work, instead of reducing the IQ required to digest the script in order to take into account the weak hearts of advertisers. Like this drama and "Shameless", they all illustrate the possibility of coexisting entertainment and guiding the audience's critical power. Moreover, the point is that the angle of penetration does not really need to be one-sided, and the packaging is a grand-sounding way of soul chicken soup. Too many screenwriters write the same themes, the same roles, and the same dialogues over and over again in order to meet the standards in the minds of the audience.
I like the humorous dialogue of "OITNB" (also superficially like the smile between Alex's eyebrows), and I prefer it to accommodate and tell people and lives of different ideologies. If you think the world should be either black or white, people facing you are friends or enemies, if you are willing to conform to the bad rules in society, then congratulations, please continue to eat your apples and oranges obediently. But my remote control prefers the unconventional blue psychedelic tomato.
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