Quiet, but absolutely thrilling, Woody Allen's most perfect movie. Rhythmically, it has the sense of stability of classicist architecture, and structurally, it is a tragic opera that paves the ground up layer by layer and then collapses layer by layer. The upper part seems to be a dangerous and dripping "Billy Wilder secular drama", and the lower part is transformed into a gentle and delicate Hitchcock movie with a knife hidden in the middle! Except for Woody Allen, probably no one can sew such a vulgar story to such a radiance. The general idea of the story may have been repeatedly rubbed by countless French novelists as early as the 19th century: empty-handed young careerists and high-class ladies met. It seems logical to seize the opportunity to enter the wealthy family, but at the same time, he is wrong. Unable to curb the inner passion, he is incorrigible and fanatical in pursuit of another charming woman, who is sexy and sultry, exuding extraordinary charm, but is an insignificant little actor with no career prospects. By mistake, the young and promising youth finally chose to marry the upper class, but missed the beloved woman. Maybe destiny is a passion for teasing lovers. A few years later, they finally met again. This time the sky thunder finally shook the ground, and the situation was out of control. However, a favorable marriage and perfect love cannot have both. To put it more blatantly, Youwei Youth cannot give up the perfect life of the upper class for the beloved woman. After a painful and extremely subversive final decision, he carefully planned a game. Murder killed the beloved in life and retained the opportunity to continue to advance in the upper class. He offered the soul to the devil with both hands and executed the beloved woman with a shotgun, even ignoring that the new life that had just been conceived in the woman's belly belonged to him. From then on, he must spend the rest of his happy life in intense guilt and endless confession... You must be at a loss for the terrible facial expressions when he hurried back to his wife after killing. The gorgeous, handsome body, but wrapped in such an ugly and weak soul. In him, you can see the shadows of all the poor people who compromised with reality and chose to fall but are not "bad guys" who are heinous. That is our own shadow. The first half of the passion scene of Scarlett and Jonathan falling into the wheat field in heavy rain is infinitely yearning. It is probably the most sexy and elegant sex scene on the screen in 2005. The subtle and layered rendering will satisfy your appetite. , And then suddenly broke out-it was a precious shot that was enough to awaken all beautiful lust, at least for me. Scarlett Johansson, 21, seems to have the potential to become a sexy goddess in the new era. Her lips, my God, I can no longer remember, memories and fantasies will kill me. Jonathan Les Miles’ performance is equally unforgettable. He is low-key, sophisticated, tolerant, and easy to move. In addition to being a bit less neurotic and wild, he is compared with Al Pacino thirty years ago. It seems not inferior. For a sad fox to pretend to be a loyal shepherd dog in the upper-class herd for a long time, it does require great tolerance and depression. This depression is enough to catalyze and twist him into a dangerous wolf. You must be careful to appreciate Woody Allen’s calm narration. From the beginning, he made Jonathan look so cute. He was generous and decent. He knew how to proceed step by step. His embarrassing situations. It seems to be our own, and it is this ingenious "empathy" that makes you shocked and apprehensive about his ugly nature later-notice the lingering operas in the music of the back, then It is Jonathan's inner melody, sad, full of sincere feelings, yet he is an out-and-out despicable villain. Should we give him extra sympathy? He killed that lovely girl, and he also killed himself. I don’t think I have the courage to face him face to face, just like I don’t have the courage to face Raskonikov in "Crime and Punishment" or Lucien in "Disillusionment". You can neither sympathize with him nor Judge him, because he is you. At least part of it. The ending of the film is unexpected. It is both surprise and horror. It is full of poetic mockery, and the reality has been tricked by the playwright. Woody Allen did a little trick and turned his pen to let all the violent conflicts, tragic endings, and the heroes pass by, but left the eternal pain to the audience off the court. There is nothing more suitable for "the art of film"-you watch a movie, you are the insider of the truth, you were once relaxed and happy, now you have to pay a little price, you have to bear the pain of hiding secrets for the protagonist of the story . Of course, it is very likely that all of this will disappear overnight, and a movie can actually change nothing. The eternal themes of this movie—passion, betrayal, and the fate of gradual degeneration and destruction—have both rigorous classicism and a strong and sensational sense of modernity. For the increasingly muddy Hollywood, It was a respectable return to the basics. It deserves to be Woody Allen’s most outstanding work in 26 years. It is an iconic film in the life of this great director. I intend to stubbornly insist that it is not near perfection, it is flawless itself.
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