Napoleon made only two mistakes: the first time was Waterloo; the second time he said: On the battlefield of love, the only way to win is to retreat.
I don't love you i don't love you i don't love you
The reason the coincidence is unparalleled (unusual) is that it happened naturally.
Unfortunately, I asked for it.
In this director’s retrospective, I feasted my eyes and found some small details. For example, "The Earring of the Countess" (1953) and "A Letter from a Strange Woman" (1948) echo each other in some places: 1. The duel between the male protagonist and the "husband" The ending of the Lord’s death); 2. The dance floor players complained about their love of lovers’ reluctance to leave (the line "I would rather play for married people, at least they know to go home"); 3. The heroes and heroines are lively Discussing the love and affection of meeting every day of the week (of course, the pianist is clever) In addition, in fact, the countess and the husband of "The Sea of Fright" (1949) also have "the same kind of disease"-in the absence of I have a heart attack when I want something.
Compared to "Incoming Letters", I love this masterpiece of Marcos's later years. The classic cold humor, the familiar circular staircase, the long shots that are so smart that you don’t even notice, the classic composition and the wonderful dance floor...
From the first act, the countess is not perfect. She loves fur and jade. She has an ambiguous attitude towards the many men on the dance floor, and she spends money like dirt. She believes that what she chooses to pawn to fill the squandering deficit is when she needs God's help the most-of course, the earrings she gave to her husband when they got married were the most ruthless. But she is also cute. For example, she is friendly to the servants at home-even if she lied, she didn't want her husband to blame them, especially the nanny brought by her family.
The semi-open married life of the general and his wife was successful and decent, even if they had already separated and slept. Because each other is good at acting on the spot, the balance of marriage has never been broken. The brief fainting of the countess's past and the truthful confession of the pawnbroker made the general not very concerned.
After the heart-shaped earrings passed the Countess—the general's lover—the diplomat—the countess—the general—the cousin—the countess redeemed the series and changed hands, the balance of marriage was severely broken. The earrings are still the pair of earrings, but because of the different people who gave them, the cold bench has become a favorite. In order to redeem it, both jade and fur can be given up.
Because of Marcos Opheles, I discovered for the first time: It turns out that long shots can really serve the scene and plot, so that most of the time I didn't notice: Oh, there is a long shot here. The director's pursuit of the ultimate is even reflected in the excessive transition. In the second story of "Happiness" (1952), the building where the girls work. If it hadn't been for an old interview, I would have never found out: the original building, the camera has never been in once!
In the end, she was just a "Mrs." who gave her earrings to the church because of a wish. We don't know her last name. Maybe she herself never thought that she would really find love and meaning in a world full of lies and drunken fans.
Even Kubrick and other superb directors admire Marcos and "Earl" so much, how could I not love him and it.
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