In fact, the ending contains the opposite meaning literally. The film says that there is no destiny, everything is accidental, but in the context of the whole play, these words are just tailor-made narration for Tom, and its purpose is to shape another kind of fatalism: the unexpectedness of love When encountering, a woman will eventually think it is destiny, and a man will eventually think it is accidental; no matter how unruly and indulgent this woman has been, how much this man has believed in love.
After watching it, I sent a WeChat message to a female friend and said: I watched a movie, and the heroine is very similar to you from her face to her feelings. My female friend had just asked a man to have a car accident for him.
The name of the film is 500 Days of Summer. In fact, nearly half of these five hundred days were caused by Tom suffering from this relationship. This reminds me of Wong Kar Wai's movie. There are basically only two kinds of people in Wong Kar-wai's movies: those who dare not make promises, and those who are hurt by them. The former include Xu Zai in "A Fei's True Story", Ouyang Feng and Huang Yaoshi in "Evil and West Poison", The killer in Fallen Angels, He Baorong in Happy Together, and Zhou Muyun in 2046; the representatives of the latter are 233 and 663 in Chongqing Forest. The clearest dialogue I remember is that Mo Wenyun cried and laughed to the killer in "Fallen Angels", do you know that you have soaked in me before! The first time I heard it, I was struck by the killer's scum character, who was so forgotten. It made me believe that Wong Kar-wai was a believer of Camus. He must have read "The Style of Don Juan" written by Camus! The latter asked the protagonist to tell his fiancée in The Outsider, I don’t know if I love you or not. If you insist on telling me, it’s probably not love. But what does it matter? It’s you who want to marry me and it’s not that I want to marry you, can’t I just nod?
In my freshman year, I watched "2046" seven or eight times in half a year, because it is the closest we can think of for a promised incompetent reason: hurt. So this is a commercial film, not a literary film. Before "Blueberry Night", Wong Kar-wai was depraved, depraved so much to my liking. A promised incompetent person will not cherish what is easy to get, and dare not pursue what is hard to get. He will only face the ticket that misses himself again and again, and the woman who has rejected him. .
Summer is the female version of Zhou Muyun on the other side of the ocean, a 21st century female Don Juan. In her first open-hearted dialogue with Tom, she only said half the truth: she certainly feels that the freedom of being single is a kind of freedom. The ideal state when she was young, but the most fundamental thing was that she did not believe in love and was afraid of promises. The other half of the truth, how could it be heard from the experience of Tom and his wretched friend?
Sometimes we can’t do anything about this kind of people. They are well versed or subconsciously familiar with all modern moral language, just like the male protagonist’s blind date in the play questioned him after hearing his accusation against Summer, she lied to you Yet? Does she take advantage of you? Did she tell you long ago that she didn't want to enter a relationship? That's right. From the perspective of modern moral concepts, Summer does not need to bear any moral responsibility to Tom, even if she suddenly kissed him next to the printer, stroking various furniture with him at IKEA, looking forward to the future, and experimenting with him in the bathroom. It doesn't mean anything to have sex with the curtain being pulled down. She said everything very clearly at the beginning. If you fall in love with her, what you will suffer in the future is what you deserve.
For those who promise incompetence, many men and women will have the urge to buy evil. They make it clear to you that they do not desire or cannot enter into a relationship, which means that they will not make any promises to you, but they frequently show up in front of you, intentionally or unintentionally showing their charm. What annoys you is that they really have some charm. This kind of glamorous movie is very vivid at the beginning. Where Summer goes, male animals pay attention. She can even affect the economic laws of the real estate market. Even if Tom wanted to resist at first, he used earmuffs to isolate him in the elevator. As soon as she watched, the emotional poppy had quietly planted its roots in the cowardly man's heart. I definitely don't believe that Summer didn't mean it. Professionals who hurt people are very aware of the various weapons on their bodies.
Before I went to Beijing last year, my aunt came to my house as a guest. Her view is the same as my mother: If you don't really want to marry a girl, don't fall in love with them. But as the mother of a doctor of Tsinghua University, she undoubtedly has more powerful thinking ability than my mother. When I said, I didn't lie to those girls, I told them very clearly every time that I was unlikely to get married, and I might not even enter into a relationship with them. My aunt smiled and said, maybe it seems to you, but for a girl's family, how can you let go of your feelings? You didn't lie, but you hurt others. As a Kantian, I did not jump up and talk about the set of "people are autonomous moral actors" and "people are responsible for their own choices." I silently gave a thumbs up to her keen moral intuition.
In the eyes of people like aunt, Kantian discourse may be an excuse for hooliganism. This statement has a considerable hit rate. In "Hundred Percent Feeling" starring Shawn Yue, the pseudo-lesbian who was interesting to Cherie told her that Jerry seems to be a master. First tell you that you are a bad person, and then move you, let you accept him, so you Because of the pain he suffered in the future, he didn't need to bear any moral responsibility for it. This judgment is very accurate, but it is also not fair to two kinds of people. One is the Kantian with a romantic nature. This kind of person can't help but be passionate about women, but they can't make promises to women. Therefore, to scare away some women who are weaker with the truth is nothing for him. Method. Another type of person is an existentialist like Summer.
For existentialists, life is absurd and meaningless, let alone love? Even if you listen to psychology, love is passion, intimacy and commitment. Even if you listen to Nozick, love is when you no longer think of each other as "you and me", but "us". At the end of the film, whether Summer truly believes in love and destiny, I doubt very much. Because I think that even if you really "see" love, there can be other explanations in existentialism: even if this "seeing" is not your own illusion, it does not have any universality. She sells it to Tom, It is a logical confusion caused by happiness. I am more inclined to think that this is for a happy commercial ending. In life, the true ending of an existentialist may be, maybe it can only be like "The Outsider".
Over the years, I changed from an existentialist to a Kantianist because I realized that, in addition to taking on my absurd destiny, maybe I also need to take some moral obligations to the people who live with me. Despite this, I couldn't stop myself from hurting some people. The contempt of indecisive people in this era is far greater than that of people who have no morals. Every time I feel a girl, I can’t confirm whether it’s true or not, and whether it will last for a long time. The only sure way, and the only way to be respected, is to pursue her, to prove, or to falsify this feeling. The ending is often very disappointing. Today, a girl asked me to tell me about the harm she suffered for another promised incompetent. She didn't know that the person in front of me was not qualified to go along with any of her condemnations.
When I was in Shanghai at the beginning of the year, Wang Qianru asked me, have you ever experienced love? I said, if unilateral is not counted, it really doesn't. And even the unilateral ones, I'm not sure if they are so persistent because they can't get them. If so, I want to withdraw my evaluation of Schopenhauer, even if he did not accurately judge human nature, he also accurately judged the nature of the promised incompetent. At least for them, the pendulum of life is swinging in the pain of not getting and the boredom of getting.
The advantage of the promised incompetent is obvious: they can always afford to let go of some newly generated feelings; they are either nihilistic like existentialists, do not approve, or only recognize their intrinsic value by "choice"; or Like Ouyang Feng and Zhou Muyun, there are some constant memories in their hearts to help them break away from new relationships; they may also be some people who sacrificed their lives for their ideals, just like the protagonists in "The Moon and Sixpence", he said, love It is pathological, and sex is normal. In front of these people, those love idealists, those who "seriously fall in love", and those prehistoric fossils who believe that "love that is not for the purpose of getting married is a hooliganism". Naturally, they lose and lose, and they will never stand back.
I posted a state (weibo) a while ago, which is a very real concern in my heart: For me, if I marry someone I don’t love, then I will cheat in 80%; if I wait for the person I love to appear and get married again , Then I may not be able to get married in my life, because I may not meet that person at all. I don’t know how to deal with this dilemma. This is not a theoretical dilemma. I cannot use "midwifery" and thought experiments to give it a complete solution; it is a practical dilemma. I need to be like Summer. I am very pessimistic about seeing love happening, growing stronger, and taking shape in myself.
500 Days of Summer uses fatalism to solve the problem that bothers all men and women who look forward to love (including those who promise incompetence): what if I don’t meet that person? Intellectually, I have always believed that fatalism, like conspiracy theories, is a form of laziness. Apart from the unreasonable box office, the real contribution of this kind of work is only the addition of a character to the portrait of the promised incompetent. I can foresee that one day, luck egalitarians in love will definitely appear, because we have been troubled by this for thousands of years.
View more about 500 Days of Summer reviews
