The magic of Ireland cannot be overstated. That piece of warm jade-green land is filled with the music of nature, flaming whisky, manic and irritable blood, lazy emotions, beer green eyes, and the world is overwhelmed by it, fresh as the wind Literature and mythology older than daylight. Naturally, it can also spawn a perverted and sultry little bastard like Patrick, who can turn the whole world around.
Patrick is definitely a treacherous landscape. This quirky little man can't be simply defined as a "transvestite", but a complete little woman whose bones are soaked in fat powder and perfume. Since I was a child, I had a deep-rooted sense of pseudo-mother, knowing that I would secretly wear my sister's clothes and my adoptive mother's high heels, put on lipstick, and twist my waist.
"Tell me, 'I'm not a girl'!" the frightened adoptive mother ordered angrily.
"I'm not a girl!" (laughs)
This scene is somewhat similar to "I am a female Jiao'e, not a man" in "Farewell My Concubine". The difference is that the former is running towards the path of "Nv Jiao'e" without hesitation, while the latter is under all kinds of coercion and seeks to do everything, and in the end, it is indistinguishable.
The first two-thirds of the film made me laugh, especially the chapter "Kitten save the world", which may be a battle of perfume weapons named "Chanel" that was bought for only 9 yuan and 9 yuan. Sean Murphy's body movements and winking eyes are absolutely amazing, and even the movements of spraying perfume are in perfect harmony with the rhythm of the music. After this vain imaginary segment was over, seeing the police officers who were messed up and entangled by him, what a coke too~
Little bastards are always the enemy of society. This rigid world is about seriousness, seriousness, seriousness, and Patrick can't contain his madness. Neil shows us a world of stupid men, a world where only Patrick is a fake girl. Either angry or submissive, men are always the ones to be tricked into, seduced by his demagogic blue eyes and other style. On the stage of London and Ireland, he is a great actor without precedent or comer, teasing the moral bottom line of the whole society, and using jokes to fight against the injustice of fate.
As Bazin said, the director is the source of a film's value. Then Neil Jordan undoubtedly insinuates his disapproval of this society on Patrick. The sense of loneliness outside this society, and the satisfaction of being obsessed with one's own small world, as a director, is it not the same feeling.
There are two particularly important characters in this movie, which are not much but full of weight. They are Patrick's parents.
"Mother" is an illusory presence in this film. Phantom Lady, literally in itself proves her inauthenticity. Leaving aside the images of Patrick's narcissistic paranoia that surfaced in the composition, for Patrick, the real "mother" is blank and ubiquitous. Neil is also repeatedly emphasizing the image of this woman to the audience: the golden bun, the slender waist, the slowly moving figure on the tram, and even arranged for the two gossip birds to repeat twice. She is exactly like Mickey Gaynor The appearance is only to enhance the authenticity of this woman. Although out of reach, she still exists clearly in Patrick's imaginary, but for us viewers, that face is still full of puzzles. Neil is also trying desperately to hide, only through Mickey Gainer's posters, the dictation of people who know her, the far back on the tram, and Patrick's cross-dressing imitations. Until finally, the back figure came down the stairs and over the space of her shoulders, we saw the scene of Patrick fainting in surprise and joy.
Patrick kept saying that his mother was being swallowed up by London. But his understanding since childhood was that his mother disappeared into the vast sea of people in London, waiting for him to rescue, as the oral narrative. And after witnessing the life of my mother, this sentence has another meaning: London has become my mother's home, she has married, has children, and can never go back with him. The mother became the mother of others, and the Patrick in front of her was not the abandoned baby Patrick in the Irish border town. Maybe the same name can be seen as the woman's memory and repentance of yesterday, maybe there is still love, but to Patrick, this ethereal thing is nothing.
"Looking for Mother" is a main line of this film. Its ending is accompanied by unspeakable sadness, and Patrick, who has always been strong and cheap, can't help tearing up. The journey is over and everything goes back to where it started. All efforts seem to be just to prove the existence of such a woman. Whether it's worth it or not is not something we viewers can comment on.
I appreciate Neil's handling of "father" more than the "mother" curve. "Father" and "Mother" are two completely different concepts. He is within reach in geographical distance, and his appearance is believable. The only chilling thing is that his identity is between himself and he denies it. So "Father" is both a desire and a contempt for Patrick. From the time when he playfully brought his parents' fornication to the class composition, we know that the image of this man is just a dirty and ridiculous existence in his heart. However, this little bastard who grew up with a lack of love and care from his adoptive mother and elder sister with his butt twisted under the lewd power of his adoptive mother and sister, undoubtedly has a kind of close expectation for his biological father. Step by step their relationship improved, and Neil used four sets of scenes to ease the sublimation.
In the first meeting, Patrick cursed his mother, and the second time the questioning of his origins sent the priest out of the house in a panic. The first two short periods were separated by a small window of "indictment", and their psychological distance was undoubtedly as far as God and mortals.
The third meeting was quite exciting, and it was also one of the most moving parts of the film in my opinion. At this time, the relationship between the two is delicate. In a place like a nightclub where shame and ambiguity are fermented, separated by a glass wall, the priest rambles about his story and the love for his son that has been lurking in his heart for a long time in the small cubicle at the back. Neil gave several close-ups of his mouth and microphone. His face was hidden in the darkness, the burgundy light reflected his chattering lips, and an unspeakable past was evident. The red lights here do not all reflect the atmosphere of the nightclub, but also reflect the priest's crime and punishment, which is an emotional insinuation of his heartfelt words at the moment. On the other side of the glass, bright and dazzling, Patrick, sitting on the flowery swing, was full of sensuality. The swing swayed and swung, as if it was the eyelids that he threw to the brow. As the priest speaks, we see the swing come to an end, and the sadness of shock spreads from Patrick's gigantic pale blue eyes. It's ironic that true love is shown in a loveless joke. The two dreams he had been pursuing for a long time—the figure of his mother and the love of his father—appeared suddenly. Neil created a warm and coldness for us in two rooms, one light and one dark, and the strong contrast of colors showed a dream-like illusion and unreality, and it was not only the characters in the video that frightened him. .
The last scene is at the door of the priest's house.
"What should I call you?"
"Father."
Although in English, "father" and "priest" are the same word. But in essence the role played here is undoubtedly a hint to Patrick's biological father's approval. There are no barriers of identity and ethics between the two figures, and the father and son stare at each other as if they had just known each other. The surrounding air seemed silent but no longer cold.
"Breakfast on Pluto," the poetic title is taken from a 1969 song of the same name. The lyrics express "even if we don't leave your place in reality, imagination can still let our minds break free from the shackles of our bodies and travel the universe, to Pluto for breakfast." This is the freedom that Patrick is looking for in his heart, and it is also Neil. Jordan's Hope.
The beginning and end of the whole film are two loops that echo each other, and a large flashback in the middle is trivial and loose but not distracting. It is worth mentioning that the two wonderful gossip birds that play a role in connecting, shuttle in the air gently and skillfully, as if they are two golden needles controlled by invisible hands, threading the needles for the whole film.
This is a fancy dress that belongs only to Neil Jordan, but everyone loves to wear it.
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