"I cried that morning. I cried because I loved the street that got me out of Henry, and one day it will get me back to him
. I cry less often.
I cry because my pain is gone, and the pain doesn't exist, and I'm so uncomfortable."
A friend who recommended this film to me said that this film has everything. Sure enough, this first NC-17 film in film history (not suitable for under 17) has everything. The director of "Love in Prague", Philip Kaufman, once again used his bold and in-depth exploration of the erotic part of human nature And alternative narratives teach aphasia. However, students who want to hear the passionate plot reveal are probably going to be disappointed, and my film review is only a marginal ball.
I bought a pirated CD, and the first sentence of the film synopsis reads, "In 1931, the banker Hugo and his wife Anne went to Paris to spend the summer. After discovering some hidden pornographic photos in the apartment, lurking in Anne's heart Lust has been awakened..." I laughed when I saw it, thinking of the "Yanzhaomen" incident, some netizens commented quite interestingly, "Those who look at 'Yanzhaomen' and have compassion are also Bodhisattvas; those who have fear A gentleman is also a gentleman; a person who has a happy heart is a villain; a person who takes effect of the Dharma is the ear of a beast." This sentence sounds familiar, yes, it was taken from the preface of "Jin Ping Mei". The preface to this film is also appropriate, but the matter is far from over, just like no one only reads the preface and not the text, people are never just a gentleman and a villain. It is not surprising that celebrities take pornographic photos, but the exposure is earth-shattering, because the king went to the street without clothes! I admire directors who reveal the truth about human nature, they are braver than the child who tells the king without clothes, Philip Kaufman is one of them.
Serious art, politics, and human liberation are subjects that Philip Kaufman is passionate about. He likes to put the protagonist in an extreme experience, recklessly challenging traditional moral norms. If the "Love in Prague" adapted from "The Unbearable Lightness of Life" still has a veil of tenderness in its naked description of human beings bound to the heavy body, the "Henry and Joan" adapted from the writer's diary is The more imminent stare, the hot flashes, took one's breath away. One of the functions of literature and film is to explore the possibility of human nature. If freedom is really the ultimate goal of human development, then every small step is worth trying. In the forbidden area of emotion and morals stands a false door, and you I don't know what's behind the door.
Turgenev's "Threshold" I liked very much at the beginning, "I saw a grand building." The grander the building, the greater the hidden shadow. "Pornography" is hidden, as a corner of the grand architecture of our era.
Desire is a door, closed. The twilight was dark, dead, and starless.
Anne, who had betrayed her husband so deeply, and with her eyes wide open, she muttered to herself the same word, "pure." Joan fully supported her husband Henry's writing, supported him, told him all her stories, and hoped that he would become Tostoevsky, his only heroine. He wrote it, and she felt he didn't understand her. I'm wondering, does Joan want to be Henry's Sophia? The frontier of human nature, who is the master of crime and punishment. I think I should rethink the definition of some words like "pure" like "love".
Joan mentions the beauty of the back of the puppet leaving alone, and the sadness intertwined with pride and confusion. I remembered the last paragraph
of Threshold, where the girl crossed the threshold and a heavy curtain fell behind her.
"A fool!" Someone behind him was gnashing his teeth.
"A saint!" The answer sounded out of nowhere.
View more about Henry & June reviews
