There are always people who say in your ears, life is not a novel, don't add drama to yourself. Is it true?
With a dream of being a writer, Martin took over the bakery and started kneading dough, turning his life around him into a novel, indulging in the thrilling role of a peeper (or even "author"). His wife and children ridiculed his involvement in the play, until the affair story of the neighbor Mrs. Bovary developed step by step along the trajectory of the novel, and finally ended with the dramatic death of the heroine. In this family of onlookers, when his son deliberately made up his new neighbor named Anna Karenina, Martin sat up in shock and his mother took a breath.
The language of the first half of the movie is very clean, and the dress like the heroine always exudes a fascinating, sexy and fresh breath. The young man Bressini’s castle was also very peaceful, and they had a tryst when the husband was on a business trip, and everything seemed to happen naturally. In fact, the director used Martin's eyes to tell a simple story with twists and turns, which is quite informative. In contrast, in the second half, various misunderstandings were used to ingeniously construct drama conflicts. Artwork "stolen"-affair exposure-human misunderstandings among lovers-ex-boyfriend walked into the event center-accidental deaths of everyone "joining forces", these successive occurrences The incident quickly pushed a long and slowly narrated poetic plot into the waves, completely satisfying the audience's thirst for drama. In such a relaxed narrative rhythm, there are always small tricks of the director who want to say nothing and take photos before and after, so that the whole story is told like a figure skating, in the elegant background music. go ahead.
We often say that life is like a play. Filmmakers naturally have to arrange cleverly, and they are also scheming in life. For ordinary people who are accustomed to drama and routines, the most unforgettable thing besides the heroine's sexy and refined beauty is probably the look in Martin's eyes when he looks at the heroine. There are surprises and desires in those eyes, the trepidation of unexplained prophets, and the excitement of transcending ordinary life. And what impressed me the most was that he said to his family: "Guess what their surname is? Bovary!" At that moment, he couldn't hide the little excitement at the corner of his mouth. Even in "Dans la maison" (Dans la maison 2012), Uncle Fabrice Luchini's interpretation of the theme of voyeurism does not have this clumsy meaning. After all, from a certain perspective, Martin is not only a voyeur and a prophet, but also the author of the entire plot-it is his myth that affects the whole story and leads the audience to complete an artistic imagination. But the straight and clear eyes and the innocence of several kinds make us wonder: Does art make people's hearts more complicated or simpler?
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