Henry Miller (1891-1980), a pivotal writer in the American literary world, received mixed reviews. Author of the autobiographical trilogy "The Tropic of Cancer", "Black Spring", "The Tropic of Cancer"; the sacrificial trilogy "The Journey of Sex", "The Web of Lust", "The Knot of Spring Dreams" and so on.
Joan Mansfield, the second of Henry Miller's five wives, was the one who inspired Henry Miller's wild and rough desires and galloping passion for writing.
Anais Nin, daughter of the Spanish composer Genin, wife of the financier Hugh Guiler, lover of the writer Henry Miller... in the diary novel Fire ( The Diarv of Anais Nin, also known as: "Henry, Joan and Me"), this is the creative blueprint for this film.
In Paris, France in 1931, Henry Miller was engaged in the freelance life of "The Tropic of Cancer", and Anais Ning was also writing innocuously analyzing D. H. Lawrence (DH Lawrence), When the two sparked a hot love spark, and then Joan joined in, the love entanglement of the three people's three emotions and three sexes began.
Can't remember when I first saw Henry & June, just for Kaufman's movies, far less impressive than The Unbearable Lighteness Of Being, or a lot of it because I don't like Henry much Miller made sex too rough and dirty.
Paris, the Babylonian of modern art, the artist worships devoutly in her forgiving skirt. Under the banner of mysticism, naturalism, nihilism, symbolism, intuitionism, anarchism, or whatever surrealism, we are indeed aware of the strong voice from the western art world after the prosperity of industrial civilization, whether in art painting, melody A keen sense of smell in music or literary creation makes us completely lost in the wonderful world of the 1920s and 1930s; lists a lot of familiar words: Freud, Dostoevsky, Strindberg, Nietzsche, Lan Bo, Ramakrishna, Picasso, Lawrence...
Because DH Lawrence started
"Love June Flower", I don't like this kind of Hong Kong translation, it is too gorgeous and lacks the connotation it should have; Sex", a direct peep, but a little vague; let's use the literal translation of "Henry and Joan".
The first thing that catches the eye is Ning, played by Maria De Medeiros, with those big empty eyes, and a stack of Ukiyo-e paintings by Japanese painter Katsushika Hokusai found in the bookcase. After slowly introducing Paris, France in 1931, it was the residence of Vincent Paris in 1931.
Maria de Madeos does look quite similar to Ning, a woman with a wide forehead and big eyes, a woman who spoils Wenxin. To a certain extent, she has many similarities with Virginia Woolf:
first of all: she knows how to tie money, and her literary creation is completely parasitic in her husband's sturdy wallet. Woolf slipped out of the publisher, laying a solid foundation for the bookbinding of the savage and retarded in the future; Ning used the financier's purse to give out to his lover, and used the lover's literary fortune to make a name for himself.
Second: Familiar with "playing love", my husband instills love in every detail of life, once the great gap of food and clothing is crossed, he begins to release the unprecedented furry vagina, completely stripping the true meaning of the so-called "love" from the pursuit of the body;
again: Pursuing idols, they all respect Lawrence, and they are very happy to implement Mrs. Chatterley in Lawrence's writings, and infinitely enlarge and integrate them into the queue of literary pioneers.
Finally: the courage to confuse gender, the gay men who have been sung since Plato have been sensitively derived from them to the vast number of women, all of them are shocking and energetic, chattering and relishing on the paper.
At the end of 1931, Ning planned to write a monograph on D. H. Lawrence, and it was during this period that she met Henry Miller, who was a guest at the Vincent House, and the hazy seeds were planted in the chaotic sexual entanglements.
Tropic of Cancer
Henry Miller: All I want from life is a few books, a few dreams, and a few women.
I personally think that the director Kaufman has profound artistic accomplishment, and his literary temperament has influenced his film creation in many ways. His films are just like the Tropic of Cancer, which is parallel to the equator, never coincident, but does not deviate too much. His film works have a high artistic threshold. You can brag about his musty film topics, you can covet his undisguised sexuality in the film, and you can even poke at the difference in his specific understanding of the writer's perspective... …Under Kaufman’s extremely powerful cinematic form, he can only succumb to his stubborn understanding. It is undeniable that his thoughts require you to meticulously and repeatedly interpret and rearrange the fragments of his deconstructed art.
The film is in strict chronological order.
After meeting Henry for the first time, Ning developed a strong interest in this very energetic old man, and continued to have the desire to visit him again.
Henry was born in a German tailor's family in the United States. He basically did not have a complete system of higher education. He changed jobs frequently in his youth, and his mediocre living did not drown out his creative desire. Qiong Shi, an actress and a part-time amateur *girl, began to work at home professionally in literary creation, at the age of more than forty.
Ning Huai walked through the streets of Bohemian diaspora with a typewriter in his arms, and his eyes were full of amazement when he saw the low-level refugees who carried various skills but engaged in pickpocketing. Henry was mixed in such a crowd, and his reunion was still a cold speech, and then he couldn't wait to lead her into the humble bar and bread to make a living, and then borrowed her money to hurriedly climbed up to the attic with the naked *woman in his arms.
However, in such a situation, Henry's talent could not be lost. Who could really understand a writer of words, a founder of surrealist avant-garde literature who mocked himself as "a bard of rogue proletarians", and a man who collapsed in the 1960s. A generation of prophets.
It is precisely because Henry Miller is uninhibited that the huge contrast creates a huge temptation.
Ning discussed philosophy, writing, and his never met wife, Joan, with Henry with great interest, as well as Joan's gay experience in New York as described by Henry. The conquest and attraction of words, the breadth and depth of speech, the leap of thought and loneliness... ignite the flame of raging "love", quiet in the reverie of each other's words.
Anais Nin: My painful experience of becoming a woman because of this.
Black Spring
Henry Miller Tonight, I would like to think of a man, a lonely man, a man without a name and a country, a man I respect, because he has nothing in common with you--that's why It's me. Tonight I will consider what I am.
Henry Miller and Ning vigorously discussed the narration of the text, and Ning tried his best to seek Henry's approval of Lawrence. When Joan "went from the shadows of the garden into the light of the hall to me, and for the first time in my life I saw the most beautiful woman in the world." , novel."
Everything went with the flow in the splendid night of Paris, everything in the unruly French "love" became the only excuse for indulgence, everything melted in the petite woman's ambiguous eyes...
Shot 1: Henry put Ning down in the bar's pavilion, and warned Ning in plain language: "You can see your true nature when you dance..."
Scene 2: Joan and Ning are sitting in a corner of a gay bar embracing each other, the bright red France Wine, looking at each other,
"I want to get drunk."
"I want you to get drunk too," hesitantly, hesitantly, and then said gloomily: "I'm a little afraid of you, forgive everything I said..."
Anais Nin: I can't resist no matter what kind of love, my blood starts to dance, my legs start to spread.
Tropic of Cancer
Henry Miller: Because I feel like I'm the last saint on earth.
The chaotic love, the chaotic sex, the chaotic love and the chaotic sexual entanglements arouse the ripples of life. When Ning's self encounters Henry's alter ego, when Henry conquers Ning on the bed with his powerful sexual desire, the woman just confirms the body of Henry's self.
Henry Miller numbs his painful thinking with depressing Freudian parties and bewildered alcohol; Henry Miller's strong desire to write the excitement of human contempt, and use stream of consciousness to wash away all solidified ethics; Henry Miller's strong desire Desire criticizes the decline of human nature, the hypocrisy and fragility of human nature in the face of the many temptations of money.
In the sunshine on the left bank, Henry and Ning rejoiced ecstatically in the bridge hole; in the fog of the dark night, Joan tore up Henry's manuscript and left him and Ning in the gloom of the deserted street, and once again saw their embrace with cold eyes... Toru's sympathy didn't know who to fall on.
Anais Nin: For me, the last afternoon in Miller's hotel room was like a burning furnace. Before that, I had only a white-hot mind and imagination, but now I have fiery blood and divine perfection.
Sadie and Debussy
Mysterious and gloomy themes. The soundtrack of the entire film seems to be completed under the main theme of the avant-garde in the 1930s. It is precisely the music chapters of Satie and Debussy that fit the style of the whole film so well, and the essence of Satie's music is properly integrated after the ups and downs of some plots.
I can't help but be convinced by Kaufman's skillful use of the interactive art carrier, accompanied by Sadie's gloomy onlookers, and the self-kindness to think about human nature, the sadness of the lonely human society moving forward in confusion.
A careful observer of Brassai
will surely find that Kaufman cites the work of the master photographer Brassai:
The Bejeweled Woman (1932)
"The Rogue Among Albert's Members" (1932)
...
After Henry, Joan and Ning stands a great supporting role - Brassey (1899-1984). Brassey was a very good friend of Henry Miller. He came to Paris in 1928 and used his camera to record the life in Paris at night, focusing on the refugees and decay, leaving the last shadow of humanity in the slums.
In 1932, Brassard's first photographic collection "Nights in Paris" reproduced the life and state described by Henry Miller in "The Tropic of Cancer" in the romantic style of avant-garde art, in which "The Man in the Straw Hat" bowed his head. The man leaning on the bench was Henry Miller.
Kaufman's extensive lens language in this film is also deeply influenced by Brassey's romantic style, so both the details and the actor's performance are particularly commendable.
It is also the lens language with Ning as the main point of view, which makes the whole film detailed and concise and has an artistic temperament. It also fits in with the literary meaning of Anais Ning's diary, especially the excellent performances of the three protagonists. I am amazed. It completely describes the chaos among the writers without appearing to be vulgar and contrived.
Why is the word "love" clear in the world, ending this article with a sad narration and ending the melancholy of the 1930s.
I cried this morning
I because I loved the street that got me off Henry
And maybe one day it got me back to Henry
I so painful to be a woman
I'm even more so from now on Stop crying and cry
Changyou Fourth Hospital: We are all the shadows of our love, hi! ! ! (Text/Changyou Four Hospitals)
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