I never believed in equality between men and women, just as I did not believe in equality in the world. I admit that women do have all the rights, but I don’t think that God is the same for men and women. When a girl grows into a woman, it only needs one unforgettable penetration; while a boy grows, it needs countless penetrations-countless failures and countless attempts, until he understands that the world is not under his control. For example, your second child, you never know when he will betray you once. When boys grow up, they are always more cruel than girls.
The most interesting dialogue in "Classroom Love" is about sex and my helpless cock. When other children look forward to growing up, take control of women three times a day. At this time, the protagonist is tortured to death by the woman every night, and can't help but tease:
"Only rabbits three times a day, and rabbits don't need condoms."
"Classroom Love" is about the cruelty of youth. But it is not youth that is cruel, but the process of puberty growth itself. Just like when you woke up one morning and found the loneliness and thirst of life for the first time, you feel the nakedness of life itself and the evil in it. Life is no longer an amusement park, but a dangerous and bloody colosseum. .
The scores of Bo Weidberg's "Classroom Love" in IMDB are not eye-catching. The pain of growing up in adolescence and the torture of sexual desire. Movies with this subject matter to me include Tonadore’s "The Beautiful Legend of Sicily" and Iwai Shunji’s "Everything About Lily Weeks", and Bo Wedberg’s The hoped Oedipus complex and taboos are not necessarily more beautiful than this year's "Reader".
However, this film really touched me. And this touch is the fall of the boy's heroic dream. As the film says, you are not a rabbit, it is impossible to three times a day.
The second child has been used as a symbol since ancient times. For example, the second child in primitive society has become a totem, symbolizing reproduction and prosperity. But the second child has fallen to the present. If it is still a totem, then the metaphor is ability, ambition, desire and control, and the deeper level is the deep fear of one's incompetence and uncontrollable reality. In 2006, David Slade made a movie "Hard Candy", which made a very pungent satire on the subconsciousness of men: the male protagonist was tortured and castrated by a 13th-fourth girl (although he was not cut). story. It is the embarrassment of almost all men who have power but can't do anything, but can't control it with one heart.
The castration of male domination mentioned in "Hard Candy" is in fact dramatized. Arrange for an impossible hostile situation. The man loses all his ability to behave and becomes a lamb to be slaughtered-but the little Lolita, who should have become a lamb, is rebellious, with a playful expression on her face. In reality, as Wang Xiaobo said in The Golden Age: Life is a slow castration process. When you understand this, castration has already begun.
The opening of "Classroom Love" is an article on "On Mating". It means that ejaculation starts at the age of fourteen. This is the time when the hero in the story grows up. A fourteen-year-old boy, except for his breasts, his brain is his vagina. "The Beautiful Legend of Sicily" says it well: he needs a woman. This is where the desire lies.
When God wants to destroy a person, he will give him supreme power; and if life wants to destroy a person's innocence, then he only needs to give him a woman. The other name of "Classroom Love" is Classroom Abnormal Love, and Sting's first woman is his teacher. A woman in her thirties. If Sting leaned down on his knees in an attempt to explore the body temperature and lingering fragrance of the female teacher Viola on the chair is the germination of desire, then with encouragement, Sting, from bottom to top, unbuttons the skirt and gradually explores the mystery-this is The liberation of desire.
Bo Weidberg is known for his countless symbolic metaphors in the film, so Viola’s dark blue skirt and the twenty buttons untied in this section are undoubtedly a taboo trying to break free: Sting hopes to be free from a woman’s tenderness. I found the tenderness of life in the middle, and Viola looked forward to the touch of the teenager, bringing her "fresh air".
"Fresh air" is Viola's description of her husband when she was married. In Sweden in 1943, the traditional shackles and the fear of war made Viola extremely disgusted with the lifelessness of life. Although she is looking forward to liberation, she is constrained by a woman's nature after all. She can tolerate students escaping in her class, but she will never dare to expose Sting and her indiscretion.
Sting is the only straw she holds in this stagnant water of life. Although this kind of air is hopeless, Viola is sweet enough. From the beginning of the movie, Viola went from the mentor-like reserved elegance to the final hysteria. The director gave up the role image created with aria and gentle light and shadow, and instead turned to endless selfish greed and dirty desires. This is a kind of goddess. The transformation to a woman.
Sting's desire was satisfied, and gradually understood the horror and ugliness hidden behind this desire.
This may be more clear with my fourteen-year-old experience. I was boarding at school when I was fourteen years old. Every morning, the school broadcast would play a song by Li Na. The lyrics said: Before the little monk went down the mountain, the old monk told me that the woman at the foot of the mountain is a tiger. This song sounds vulgar, but I think every man should listen to it again. At any rate, it's a long warning bell.
The role image of middle-aged man Frank is a highlight in the film. Bo Weidberg's narrative is prolonged and protracted, with his hesitant teasing and veiled hints, almost shooting the first thirty minutes of the film like an extremely boring Japanese AV. And Frank's plot is a major turning point for this film, regaining interest in many viewers who have almost given up.
Frank is the aforementioned, Viola's first "fresh air". However, this air would inevitably become lifeless in what Romain Roland called the "Boss Europa". More importantly, he has a beautiful wife. So Frank is completely a funny clown image. From his name to his profession, there is nothing but a slightly sad joke.
This is a boy who has been tortured by life and growth. In the battle of his life, all he has left is a childlike heart. For example, he hid the wine in the bell in the hall, claiming to be a great invention. It is not difficult for us to glimpse a trace of purity in an old man's heart from that joke-like invention-pitiful and inevitably reduced to a laughing stock.
This kind of trick is useless in the cruelty of life.
He is the loser among men: incompetent, cowardly, frustrated, numb. In the face of Sting's green hat oil and repeated blows from life, what he adopted was evasive. Hiding in the kitchen to listen to the symphony. Frank prefers Beethoven in his later years. According to Romain Roland's "Three Legends of Giants", Beethoven is at the top of the heroes. And Bo Weidberg here is somewhat ironic: in the face of pain and unable to scream, Beethoven is nothing but Frank's nipple to suck in hope. He was comforted, but he never got the courage to fight.
In the movie, Frank and Viola are the same as Sting's enlightenment teacher. Although Sting does not admit it, he does show the pain of becoming a man in the future like Sting. Maybe not all boys will get there, but we all know that Frank once brought air to a woman like Sting. Viola is a ladder, and Frank is where the ladder leads.
Frank's image also constitutes the "brutality of adolescence" described in "Classroom Love". This cruelty is printed on every boy's vision for the future: this is what you expect. As Sting said in the previous article: You are not a damn rabbit. The same was imprinted in the vision of another boy.
Opposite Frank is Sting's older brother Sig. He is the hero of Sting.
All people need heroes. In fact, Beethoven is just the hero of the loser. For the immature souls of Sting, their hero is a real man. An ideal man.
Sting's brother is such an ideal hero.
Every boy has such a hero. (Superman was still sleeping in a boy's head in 1943.) Compared with Beethoven's mental strength, Sting's hero only needs to be physically strong. The director didn't pay much attention to Sting's brother, but he already represents a true hero: he is first a sailor, and secondly he is brave. He can solve a strong opponent or a woman.
Although both Sieg and Beethoven are heroes, there are essential differences in their images. Beethoven is the painful solace of the loser, while Sig is a role model for a young mind to struggle. What he provided to Sting was a goal, a role that Sting felt he should be.
If in "Everything About Lily Weekly", the cruelty of growth lies in the shattering of dreams, then Sting's tragedy begins with the fall of a hero. Sting's brother finally failed to overcome the impermanence of fate and died in the war. It's like a failed superman, falling down in front of a child.
This is reality, no one can challenge and win in it.
The cover of "Classroom Love" is Viola's dark blue dress, with twenty buttons half-open and half-closed, lusting in it. But what Sting unlocks is not desire, but the truth of growth. If there is so-called cruelty in it, then it is indeed so old-fashioned: reality unfolds and heroes die.
Then we started to grow.
This Bo Weidberg movie is actually more interpreted as a power struggle between the sexes. Viola represents the strong and Frank represents the man, the weak in this war between men and women. Sting's final rebellion and departure represent that the man has begun to take the lead in life.
If Sting has learned something in this war, then he has learned what all men have learned: control. In the scene where Sting and Viola are warm in the teaching equipment room, the director uses a brainless mannequin to metaphor Sting's second thought. With the death of the hero, Sting gradually began to think about the meaning of life in the drastic changes of his growth and tried to resist. He began to leave Viola to pursue his love; and kicked away the podium of the female teacher's authority, exposing Viola's ugliness to others.
He began to take control of his life, regardless of whether it was a Frank-style tragedy, but he did have to start his own journey of becoming a man. Faced with the teasing of life, we may not be able to control everything, but I can at least control my second child.
Feminists have criticized this, because after all, lust is what they want. It represents the inferior nature of men, and they feel that they have all the handle on men.
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