This movie is the film of Nagisa Oshima after he made "Sensual World", and the actor who plays the male lead is Fuji Ryuya, who plays the leading actor Yoshizo in "Sensual World". In this film, he plays a rural second-rate, roguelike, quite different from the romantic little boss in "Sensual World". The story is also an extramarital affair, but the film focuses more on the conflict between lust and society.
As can be seen from the Japanese or French movie titles, these two films are considered to be a companion piece. The Japanese name of "Sensual World" is 爱のコリーダ (Love Bullfighting), and the French name is L'empire des sens (Sensual World). ), the general Chinese translation uses the French translation; and the literal translation of the Japanese name of this film is the dead soul of love, and the French name is L'empire de la passion (passion world), as for why it is the French name. Don't read English - the production of the film is French. "The Senses World" describes the internal destruction of unsustainable sexual relations, while "Dead of Love" discusses the unsustainable external struggle of the sexes. If I had seen the two films at the same time, I might have given a different title to the review of "The World of the Senses", such as: The Internal Destruction of Erotic Contradictions.
I still prefer "The World of Senses". "Dead Souls of Love" discusses the contradiction between lust and society, but if there is a contradiction between extramarital affairs and society, then the marriage system will inevitably be discussed. Unlike "Sensual World", which discusses extreme sex, there are many literary and artistic works that discuss the marriage system. "Anna Karenina" and "Golden Plume" are all discussing family and marriage issues. In "Undead of Love", the heroine Ashi, a peasant woman, lives a mediocre life, but she is not happy, poor and has no sex life, which does not meet her original expectations of life. He came to lure her again and again, and then staged a plot in which Pan Jinlian and Ximen Qing killed Wu Dalang. Personally, I don't think there is any logic in the later plots. It's similar to the ghost stories in the notebook novels. I'm not interested in ghosts and ghosts. Plus, I have a headache when I see women screaming and crying, so I didn't watch the later plots carefully. The advantages of this film, apart from the music and art accidents, are mainly that the director put the discussion of eroticism and the marriage system in a very simple background. Even an ordinary peasant woman still has a longing for life, and the boring marriage life obviously killed her. of longing. I don't think the discussion of the marriage system in this film is anything new, and the rhythm of this film is a bit slow. I want Li Hanxiang to shoot this kind of ghost-themed story about a fool in a village, and the story will end in about half an hour...
I have always believed that a high divorce rate is a good thing. No matter divorce or marriage, they are all for a happy life. A high marriage rate and a high divorce rate show that "people's yearning for a better life" is increasing day by day. If a society has a low divorce rate, then either the population of the society is declining, or the society does not have a reasonable marriage exit mechanism. Any organization without a reasonable exit system is meaningless to participate, and so is marriage. If Anna Karenina, Pan Jinlian, and A Shi in this film can all get divorced smoothly, then these tragic stories will no longer exist. Thinking about it this way, divorce can not only save the men and women in the shackles of marriage, but also how many people who would otherwise be killed by love?
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