Frank said to April in the film also touched April and made her come up with a crazy plan. I want to say that this sentence also plucked the most secret string in my heart. Everyone has a "Paris plan" in their hearts, doesn't it?
After "American Beauty", Sam Mendes once again picked up the topic of midlife crisis and middle class crisis. But this time the story has more themes, about ideals and reality, freedom and responsibility, about how life is like a black hole swallowing even a little bit of light that we try to escape.
"Revolutionary Road" is a chicken bone that gets stuck in your throat after reading it. You can't swallow it or spit it out. It forces you to examine the cruel side of life, as Frank and April call it "hopeless emptiness." What kind of life is this. Suburban villas, lovers, children, everything, but everything is suffocating. An uninteresting job, a cookie-cutter housewife life, a hypocritical neighbor's wife who is accustomed to whitewashing Taiping with innocuous nonsense, you stand here and look up to see what the end of life is. "I saw whole our future. I can't stop seeing it. Can't leave, can't stay." Such emptiness often makes you want to yell like April: "Leave me alone...if you touch me, I will scream."
Ahhhhh, she screamed hysterically. See how much I want to scream with her.
Go live in Paris! It's the only idea that will make the couple shudder just thinking about it. Don't they know how absurd, unrealistic, and childish this idea is, but as April said, isn't the current life, day after day, year after year, doing work that they can't bear to be realistic? All the premise of life is based on the fact that you are special and superior, but life tells you that you are not special, you are a mortal, that proud villa standing on the hillside is just deceiving itself, and there is more than that. Is it uncomfortable?
"This is a chance, our last chance." I could read the desperate desperate gamble on April's face.
But the next scene is not about the young couple running to Paris with passion and then slipping back in dismay, but to give Frank a reason to back down. Life has offered him an offer to disarm and surrender. Do you want to compromise? To surrender or not, this is a problem. When Frank's scales tipped toward the surrender, April quit, saying "you're just putting me in the trap of life and making me feel what you made me feel". She doesn't want to be bound by the child, she wants to get rid of this infinitely heavy mundane, and fly to the "lightness of life" on the cloud, yes, revolution, what she wants is revolution!
But where did the revolution lead to? If the director is willing to give us an open ending, or a romantic imaginary ending that is known to be unrealistic like "The Thief of Bibo", the movie may be ridiculed and relaxed, but the director is unwilling to give a little bit of rebellion. Hope - even imaginary. He solemnly told us that revolution leads to destruction, and we must finally surrender to life. On the revolutionary road live a couple of unsuccessful revolutionaries, How ironic! The director chose critical realism, that is, he chose the weight of life between the lightness of revolution and the weight of life, so he chose the gloomy and dignified tone of the film, and chose everyone's "sigh" after watching the film.
other:
The full-length skirmishes continue one after another, making the story climax one after another, and frequently launch strong magnetic forces to pull you into the story. Setting up the character of a madman and using his mouth to reveal the theme powerfully, but there is not much newness, it is a poor design. The figures of the hero and heroine are all three-dimensional and plump, but DiCaprio and Winslet's performances are a little too hard. The music of the 50's was well matched. The director made this film clearly for the Oscars, but it is hard to say whether he can achieve something in this year's competition surrounded by powerful enemies. bless.
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