The two heroines are very good, and the chemical effect runs through the rainbow and resists the blizzard. I have no objection to the voice-over. It would be lazy to translate the words from the beginning to the end. Thinking that one of the screenwriters is the original author of the short story, he must be reluctant to change it. The director, photography, and the two leading actors did their best. What is embarrassing is that the one thousand and ten thousand peerless love still falls into the cup of "I can't do anything". Imagination can't replace everything, leaving only a sour anti-climax. In fact, she only needs a 9 cents atlas and a horse. A rifle.
It had one of the best first kisses in years, a blizzard on the farm moors, and the cinematography was top-notch...but I always felt something was missing. Simply reproducing scars and indulging in pain will inevitably fall into the pit of sentimentalism. I don't care about HE or BE, but the movie needs a moment of awakening/cathartic relief to fight against this oppression and powerlessness, otherwise, the most beautiful narrative will end in emptiness.
A friend of mine shared a quote from a netizen, and I agree with it very much. In my opinion, the failure of TWTC is the direction of the script, and it also reflects the mindset and limitations of straight men. No matter how good the writing is, the beauty is beautiful, but the soul lacks oxygen, in other words, the soul is still a vague warning and admonition. Even if he writes about the splendor of emotion and laments the misfortune of women, it is still a lyrical tone of suffering, one-way recalling the present and the past, just admiring and chasing, confined to the established narrative. Sacrifice is inevitable, wait, sacrifice is inevitable? Is there really no other option? In the long unseen history, are there any people who do not accept their fate, do things they do not accept, and are buried in the dust outside the mainstream male-dominated narrative? Think of Teacher Hua's "The Tenant" and other women? Buy bridles in the south market, long whips in the north market, go to Cidale, and stay at the edge of the jungle in the evening.
Ruo Shi will be angry, and the two corpses will be buried, bleeding five steps, today is also...
Again, the directing trio is fantastic. But I am willing to jump out of the script's logic of "laying out beauty and sadness", and think about other things besides the emotion of "sadness".
Netizen "Tallie is a rebellious character, she describes herself as very 'letting', she told Abigail that she often disobeyed her father when she was young. Let's not forget that the screenwriter and the original book are straight men. There will be prejudice when creating lesbian characters. They could write her running away and run away; Tallie could crash Finney and no one would find out in a place where no one shits. But the writers wrote that she gave up, resigned, and died. It was their choice.”
At the beginning, she also had a rebellious character. When she wrote it, she felt that it was wrong. When she got used to it, she wrote her as beautiful and sad. It's their choice.
Abigail is usually taciturn, but the still water runs deep. Who can predict the explosive force that can be produced when people's beloved ones are deprived one by one? They wrote that she was in great pain, imagined revenge and self-consistency, it was their choice.
The oppression and violence of the patriarchy, the hard life in the remote frontiers, and the squeeze on women's survival; the lover in the predicament will not be married after all, which is indeed very moving. The touch brought by such writing is aesthetic satisfaction. This lyric remains stereotyped. It is indeed a good sentence, and it is also the emotion of the poet, not of flowers and birds. After all, the poet is not a flower or a bird, and the flowers and birds are just the sustenance of emotions. Just as in the history written mainly by men, women are weak, admired and regretted, and it is the man who defaults to being a beauty when he is angry, but he never thought that a beauty is a beauty when he is angry. Speaking of which, I would like to say Mrs. Hua. Her advantage is that she has another kind of imagination, which blooms and sprouts from the gap, and writes out subversion from the edge, transition from the margin.
The movie Xia Yu meets each other. Screenwriter Samsung. Mona Fastvold doesn't have much room to play as a director. Although he has added some good details, he has not changed the script greatly, and spent most of the creative space on scheduling and visual language, four and a half stars. The soundtrack is slightly overdone, three and a half stars. There is no doubt that Katherine Waterston and Vanessa Kirby are five stars, like honey as electricity.
PS: I like this movie very much, and there is also an issue. My issue is not in the film, in the original book and screenwriting, in seeing the world and imagination from a female perspective.
At the source, the original author made up the family, feelings, and life of a backcountry farm woman living in 1850s New England. Her relationship with her husband, her lover's relationship with her husband, is inescapable in the story, and the negotiations of their relationship as husband and wife are the driving force of the plot twist. The authors are unable or unwilling to imagine the absence of men.
After visualization, some people will talk about good men, bad men, and OK men, and will repeat the inherent misunderstanding: women go to the same-sex group to warm up because they have not met a good man or have an unfortunate marriage.
Avoiding popular comparisons, let’s just say short stories, also historical novels, fictional, diary-style, British writer Sarah Waters’s “Spiritual Deeds”, nothing to do with men, it’s BE, it’s a completely female perspective, imaginative very bold. Which boyfriend/husband did the eldest miss turn to be Ji? does not exist. When it comes to historical imagination, the other two novels in the Victoria trilogy are even more imaginative. Success and failure, most of the history is the record of the strong, but it has A side and B side, why don't we imagine the B side that no one has written down.
Let's talk about an older movie, Desert Hearts in 1985, in the United States, in a small place, in the countryside, there is no male protagonist on the screen. Movies don't discuss good men and bad men. The focus of the film focuses the audience's attention on how the two heroines view the world, how they treat their feelings and the future.
This may be the expected world to come.
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