Most of the time in the movie, the long-lens shot of the dead branches, chaotic trees, and deserted street scenes. It has symbolized the emptiness and ruthlessness of the middle-class people in the film. It feels beautiful, but it is an alternative beauty, a desolate beauty. There are only a few scenes in the movie that feel a warm beauty (but also used to contrast with what the former shows).
The children watching the circus in the circus, (the pure children are in stark contrast to María and Juan who came here to talk secretly, María and Juan and the clowns performing on the field contrast each other).
Terrified, Juan went to the home of the cyclist who was killed by him to inquire about news, and met a group of low-level toiling people who always helped each other and entertained him. (You must know that the director is a staunch communist, and the objects he analyzes in the film are mainly the middle class.).
María and her husband Miguel went to the church to observe other people's weddings. The guests at the wedding blessed the newlyweds. The innocent children were running around, and the white pigeons were flying in the sky. The picture was very warm, really warm. But our heroine is quite impatient with this, and feels that the priest's blessing to the two newcomers is so old-fashioned and contrived. But why do people who do not believe in marriage marry the man in front of them? For money, or for the noble family of the other party?
Juan came to the church to find inner peace, (religion is always what Western directors want to express).
About the protagonists: the extortionist Rafa, he extorted the other three not only for money, he had been in the high society for many years, and he had already been psychologically distorted. Extortion can not only satisfy his desire for money, but also satisfy his revenge on these "upper-class people" on a psychological level.
Husband Miguel forgives his wife not only because of his love for his wife, but also for the protection of his family's reputation. It's just that this kind of individual selfishness runs counter to the general concept of justice in the whole society.
When the car accident happened, Juan, a university professor, obeyed María's words and drove away. Afterwards, "there was no remedy at that time" as his psychological excuse. His transformation in the movie is quite abrupt (I don't like it), when looking at the unreasonable failure of a female student to pass the exam for the sake of the school, (also because of him). student protests. He suddenly remembered his kindness and purity when he was young, his high spirits when he was young, and then after being inspired by God in the church, he decided to surrender himself to the police and gained inner peace.
The heroine María is beautiful, really beautiful. But there is a ruthlessness in this beauty that radiates from the inside out. She's the kind of realistic woman, the reality is terrifying, she married Miguel for money and fame, and had an affair with Juan for lust, so when Juan called María and turned himself in with him, I knew it wasn't like this It would happen, and I knew Juan wouldn't get a good ending.
About the ending: To be honest, I don't like this ending very much. If Juan's sudden change is acceptable, I can also accept the ending that Juan was killed by his lover. This is indeed the most acceptable to this tragic character. A tragic ending. (laughs) But María's death was a bit forced by the director of the communists. A hardworking public at the bottom saw a middle-class member die under the bridge because of his reasons. He hesitated and chose to face it firmly. , riding a bicycle to the nearest place to ask for help, a toiling public at the bottom encountered the same thing that the class he opposed faced in those days, but made the completely opposite choice to the class he opposed, and there is nothing better than this A more contrived ending?
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