The heroine Gemma Bovary died at the beginning of the movie. Then why did Gemma die? The movie shows the last stage of Gemma’s life from the perspective of Gemma’s neighbor Martin.
Martin worked as an academic editor for 12 years and inherited the bakery in his hometown of Normandy 7 years ago. He has been fascinated by the novel "Madame Bovary" since the age of 16, and Flaubert completed his masterpiece in Normandy. One day, a Bovary couple from London moved into the house next door to his house. Wife Gemma Bovary is as sexy and charming as Emma in "Mrs. Bovary" (Emma's original name is Emma, Gemma's original name is Gemma, with a difference of one G), and her husband Charlie Bovary is just like "Boufali" Charlie Bovary in "Mrs. Leigh" is just as mediocre and gentle. Martin, who is well versed in the novel "Madame Bovary", has a stagnant pool of water deep in his heart. Martin believes that this is no coincidence. This must not be a coincidence. So, this imaginative, somewhat neurotic male protagonist began to observe Zhenma every day. . . Then, he found out that Gemma had really cheated like Emma in "Madame Bovary." . .
"New Madame Bovary" is still a story of a woman's affair, after all, audiences like it! But this is not Flaubert's realist cheating story. The director implanted the role of Martin, which made this contemporary cheating story with the absurdity of modernism. The layout of this story is very small, it is a nosy neighbourhood. Through Martin's eyes, the audience sees Gemma having an affair. At the same time, the audience is watching "Martin sees Gemma having an affair." The interlacing between the two perspectives forms a dislocation of perspective, which enriches the story and makes the audience's viewing experience full of joy. We got the pleasure of voyeurism through Martin's perspective; at the same time, we looked at Martin and his sexy neighbor from the omniscience perspective.
When Martin discovers that Gemma is really cheating, he imagines Gemma and her target Bressini as Emma and Rudolph in "Madame Bovary". And he believed that this Bressini, like Rudolph, was an emotional liar. After sleeping with Zhenma, he would definitely abandon Zhenma, and then Zhenma would commit suicide because of this. Martin couldn't get this sexy woman, so he moved in the opposite direction. He became a moral defender just like the reader Flaubert expected. He wants to prevent the two from continuing to develop. So he imitated Rudolph in "Madame Bovary" and wrote a parting letter to Gemma under the name of Bressini: because I want to escape as soon as possible to avoid the desire to see you again. Gemma, forget me. Why should we meet, why should you be so beautiful. Farewell, goodbye. In fact, as viewers, from the perspective of omniscience, we know that Gemma and Emma are not the same person, and they will not have the same fate because they are both called "Mrs. Bovary." But Martin stubbornly believes that Gemma will repeat Emma's mistakes. Therefore, the dislocation between Gemma's story and Emma's story creates a narrative tension: Gemma is obviously not Emma, but Martin must regard Gemma as Emma. This tension makes the story more and more absurd and more interesting. I think interesting is exactly what the domestic films lack. The stories of domestic films are often big, unwarranted and uninteresting. Many directors seem to have a heavy sense of mission, and they must write the era on behalf of the audience and shoot epics. Even if it is a story of a female college student abortion, it must allude to the youth of an era. Pony! Isn't it boring?
Since Martin must treat Gemma as Emma, it's not enough for this cheating woman to die. At the end of the story, the men killed Zhenma together. . . Uh, it's not as dead as you think. . . The movie goes like this: Martin, who is desperate for Gemma’s refusal to persuade her, gives Gemma a large loaf of bread; Gemma’s former lover in London wants to regain her old relationship and comes to her; Gemma decides not to cheat. , To have a good time with Charlie Bovary; Charlie received an apology from his wife and took a taxi back to Normandy.
Then. . . Gemma ate Martin’s bread and choked. The old London lover used the "Hemlick First Aid" to rescue him. Charlie, who didn't know the truth, happened to go home and saw this dirty scene. The two men were in a ball. Zhenma just choked to death with a piece of bread because she was not treated in time. . . Does the cheating woman have to die (I'm really not the title party)? The answer is to die! Martin's plan to prevent Gemma from embarrassing in the movie failed, but the director still put Gemma in a mortal place, and made her die absurdly and funny. Flaubert hoped that "Madame Bovary" would be a warning to the world and let those restless women learn from Emma's death. He talked about "Mrs. Bovary" in a letter to a friend, "This novel contains an obvious lesson. If a mother does not allow her daughter to read it, I think the husband should give it to their wife to read it. Bad." This is a straight man's perspective. So why did French contemporary director Anne Fontaine let Gemma die? As a woman, her adaptation of "Madame Bovary" coincides with Flaubert's tit-for-tat. What is the sin for a woman who falls in love? She seemed to be questioning Flaubert. Isn't it the men who ended the beautiful life of Emma and Gemma? She aimed her criticism at these hypocritical men: whether it was her husband Charlie, lover Bressini, old lover of London, or Martin, no one really cared about Gemma, and really cared about Gemma's inner world. This is the tragedy of women, but also the tragedy of men. As a male audience, at the end, there is a feeling of being drunk by the head: women can't live up to it, not to mention that they are still so sexy! O(∩_∩)O~ Finally, what I want to say is that the adaptation of classics into movies is to make the classics more contemporary, not just deconstruction and spoof as we often do, right?
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