When I watch a crime movie, I think about how to not glorify crime, or at least not to enjoy it too much.
I think this film lessens my resistance with absurdity. For the first half of the movie, everything is still in the audience's control. Charming gangster, with a fierce look, rejects the suggestion of waiting for the candy to melt and eat. After being hit by an opponent with sugar wrapped in a handkerchief on the front of the car, he can still curse the perpetrator without showing weakness. Climb up the drain pipe to the second floor and propose to the girl you like. This is almost a Shakespeare plot. The gang member has a strong head on the white window sill, and Ai Ai takes out the ring from his arms. A loyal puppy.
Then the protagonist of the narrative dies in good faith. Everything after that is done from the perspective of the dead. The screenwriter has a very candid attitude of grabbing the collar of the audience to tell the story. Now that the lens of rational narrative has been broken, all the previous truths can be absurd, and all absurdities can also be true.
Since the movie tyrannically says that love is real, then love can be real in the movie. The deceased always knew that the love that made her desperate was real, just as she believed the love of a gang member with blood on her hands was real.
The movie portrays the two criminals as deranged philosophers and soulful lovers, but everyone knows it's as absurd as the overly hilarious soundtrack that plays whenever the twins start hitting.
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