Photography reinforces the suggestion of "no love". Dark and bright alternately contrast, the vast and bright British countryside is intertwined with the basement that hides political intrigue and human evil. When it is beautiful, the sun shines on the golden hair, on the flowers, on the green grass, on the ruins of the castle played in childhood, the noble family, here is quiet, virtuous, elegant, alive, living naturally and peacefully. That's all the good things in life worth pursuing. But all the beauty suddenly disappeared in the dark basement, as if all the beauty disappeared in front of the dark human nature. Depressed and peculiar hallucinations replace all bright, narrow and dark occupying your heart, you feel that you have lost trust in everything, lost faith, lost hope, you are like a heroine, afraid: I will never see you again, Lawrence. And the flashing hope is like a flickering candlelight, in the dark, if it is extinguished, it will be extinguished. Her beloved, Lawrence, died tragically and twisted.
But in the end, she smiled and faced the past. She is the ultimate victor.
It seems that the director wants to give beauty and humanity a chance and say forget about the darkness. This is just a joke by the camera to the audience.
The best part is that the film is about politics. Politics is the arena where human nature is exposed. Politics can be more like love, hate, hope or despair than love. However, one film critic is right that if the anti-war forces in Britain before World War II had such powerful espionage and assassination capabilities, then Churchill, the drunken old man, would have been killed long ago. Therefore, in this film, the narrative power of politics and history is weak, while the narrative power of psychology and human nature is strong. And its interspersed horror in bright daily life, it is its most subtle.
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