In the next year of "Osaka", all kinds of big and small films started gearing up. The "Oscar complex" is not unique to the directors. There are two tendencies in these films, which are obviously in order to wink the golden eyes. For shooting, one is to put it out, using the historical background to smear details; the other is to gather in, dig deep into the character's heart, and replace thinking with an ambiguous mood. But no matter which kind, they don’t put the audience first. Such a film may really win the favor of awards, but for most audiences, they need to force themselves to enter the "prescribed scene" to appreciate the mood of the characters. , One or two chance encounters.
In contrast, the posture of movies like "Blue Valentine's Day" is much lower, similar to that of Ozu Yasujiro's head-up perspective, sitting in a corner and watching the changes. Even people who have never experienced marriage and love will not be totally indifferent to the identification of this kind of film, because the same words, the same actions, and the subtle changes caused by the difference in time and space, are not only love. It permeates every moment when we get along with people, and it changes slowly, but when it is discovered, it is so fast and violent.
I watched this movie twice, without stopping for a moment, because I wanted to find a point that clearly marked the difference between two people from being in love to each other. Although I know it very well in my heart that this is futile, but like every couple in crisis, I still can't help but want to try to sort out. From that moment on, our love began to become a burden.
This film once reminded me of François Ou Jong’s "Love Appreciation Period". In this film, Ou Rong completely inverted a love story, from divorce to encounter, five episodes of walking backwards, let People use a kind of extreme rationality after injury to reconsider the once intoxicating fanaticism, how much scent.
In contrast, "Blue Valentine's Day" is more direct than "Love Appreciation Period". It takes the wedding as the cut-off point, juxtaposing the two clues of encounter and love and the final separation, and cross-reference to make those inconspicuous. The details of are more profound. When in love, love can turn decay into magic. Lovers can also treat boredom as fun. Sweet and greasy is filled with air, and when cracks have appeared, then even a carefully created romance will change. It's boring. The conversation between the two in the car after encountering the old lover in the supermarket made people laugh dumbfounded. It was a dispute that almost everyone would encounter and entangled. One unintentional remark made one side sorrow, and the other had to compromise and apologize, but An apology is by no means convincing, but a kind of passive resistance in disguise. At this point, the so-called love has already accelerated downward.
The other personal reason I like this film is probably because it coincides with my pessimistic view of marriage. I believe in love at first sight, and I believe that love (let’s put it this way) will be between two completely strangers. The vision burst out in an instant, a thousand miles away, and unstoppable. I also believe that there will be a long time together and grow old together, but it is difficult to believe that love has always existed, and it has bonded the life and death of the two people. Because relative to the birth of love, it is not the least difficult to hold it.
When the blazing fire of love recedes, it is nothing more than the fact of breaking up. We have seen too much relief from the old lover's decision to break up from movies and TV series, because the result itself is nothing to be afraid of. What's terrible is every When someone walks here, they can't help but look back curiously, trying to see when, where, and what kind of mood, which led to this ending here and now.
The old love that continues to burn in the memory makes people who look back feel reluctant, so they want to do their last bit of effort to try to redeem something, and this frustration of wanting to redeem but powerless is the root of all pain.
When the two people in the film walked out of the church, I thought the film should end there, because it was really the perfect node. Whether people grow old with their sons or partake with Lao Yan, they are the only ones that can be seen in reality. A tangible sign: love has come, but it has never returned.
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