In fact, to be more precise, he was just a feeler in the world of smells, full of endless freshness and curiosity. Later, he really discovers the meaning given to him by the gift of his nose, a metaphor for the body odor of an erotic virgin. And when he discovers that he is alone in the world of smells and has no body odor, it seems to mean that he does not exist at all, let alone an ego. So he not only needs to find the satisfaction that the virgin body odor brings him, but also uses the smell to prove himself. Ultimately he created the perfume of love, he has the ability to give people a feeling of love and the endless power based on that. However, when he found true love, he couldn't get it back. All the smell and power lost their meaning in an instant, and the ego passed away with tears. After the true understanding of love and the recognition of his past sins, he made the final redemption with the sacrifice of love in a vacuum of meaning. (It's really strenuous to squeeze this text out, just one dimension.)
(A paragraph to a film critic:) When looking at the film review of this film, many people put the artist's crimes and trampling on social ethics in the first place, and they criticized and dignified. It seems to me that they need another layer of understanding of what the film means, which is discussed here. Indeed, from the perspective of law and social ethics, this artist is also a cold-blooded murderer. It is true that his pure devotion and piety fade away the sin of murder and even make one feel sympathetic. However, in addition to sympathy and understanding, society still sends him to the execution ground with "heartache". Because of social ethics and norms, this is beyond doubt. However, the focus of the screenwriter is to show a devout quest and pursuer of self and love. Perfume is the elegant taste of the film, killing is a tortuous contradiction, and this contradiction is the rare color and flavoring of the film. In a sense, such a perfume killer is replaced by a perfumer who contributes to human society, in my opinion, it is the same. Of course, after such a conversion, the brilliance and depth of the film are very different. In addition, the two different perspectives of an innocent suitor and a cold-blooded killer do not necessarily have to be mixed together for a discussion of right and wrong. People are often used to seeing things in dichotomies, so why can't different perspectives be allowed to coexist? Undoubtedly, the main point of view of the film lies in the former. Simply put, the murderer pays for his life, and it is only right and proper. But this truth has nothing to do with the theme of the film.
A topic in the film that interests me quite a bit is the word feeling. The grand erotic scene in the square can not help but make me sigh, the original feeling is so great and terrifying. In fact, what people want is not feeling? "Names before and after life" are just words for others, and only a feeling for oneself; the ups and downs of life, the ups and downs of life, the ups and downs of life, love and hatred, which is not a feeling of success or failure? The smell in the movie, the irresistible love and erotic desire from the instinct, as a meaning, is nothing more than an erratic feeling. It seems that, in a sense, meaning is something on the sensory level. Who calls man a sentient being? I'm just asking a question here. The dimension of feeling to meaning does not negate other dimensions, it should be regarded as a supplement. If feeling is not something erratic, it is because it is not only the first taste of perfume, the first taste of wine and the first encounter with people.
Another interesting place in the movie is the realm of "going up a high-rise building alone and looking to the end of the world". When the protagonist of the film really goes all the way to the end of the world, what remains is the void where the end of the world is no longer. If the banana that lured the donkey forward actually got into the donkey's mouth, it would be just a banana. So this is why people say that the three women who are "hidden, erratic, and unpredictable" are more interesting to men. (It definitely spoils women.) This is why people should constantly enrich themselves, keep making progress, and keep looking for another mountain for themselves, so that meaning is born. In this case, the meaning no longer has meaning, but enters the so-called running realm of Murakami Murakami. ("About running, what I actually want to say is" Murakami Murakami) The
last interesting point I want to say is that it is not the protagonist of the film who conquers the world, but his super perfume, the love and desire that people seek. . Therefore, it is often said that a woman is sexy and needs to show her parts. Saying you're sexy may not mean you're sexy all over, but it may mean that your thighs, breasts, or lips are sexy. But too many people don't understand this so that too many Chinese officials, professors, rich second-generations, etc. feel that they are innately sexy. Of course, the sexiest and most timeless is Money.
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