First of all, many viewers who claim to be petty bourgeoisie said they were deeply moved by this shocking feeling. I don't think the story itself is new, and the plot is mediocre: a rich girl with artistic skills is lost in love and suffers from a rare eye disease. She despairs of life and goes out to wander, and meets on a precarious old bridge over the Seine They met the same homeless homeless, and from then on began to torture each other. This method is almost catching up with Aunt Qiongyao. But what shocked me was not the emotion, but the director's suffocating portrayal of the life of the marginalized. He abandoned the poetic praise of Paris, the romantic capital in his previous film and television works, and turned to photography in repressed cool tones. The style records a lot of disgusting scenes: the stumps of the homeless in the shelter, the deformed and sick body, the pale and numb face in the smoke. Reminds me of the descriptions of the works of Zola and Maupassant, this rotten, rotten and charming city. Praising love in the midst of filth is also unique in the world movie circle.
I appreciate the audacity and maverick of director Karax, but he is not a master after all. Originally such a powerful opening is a perfect foreshadowing, and after a little attention can show extraordinary emotional strength, but Karax seems to be exhausted after constructing such a perfect opening, whether it is the plot or the Characters are starting to be sloppy. They met and said a few words. The hero began to follow the heroine. The heroine found an old lover. After the negotiation failed, he killed the other party with one shot. Then he fell into the arms of the hero and started a ridiculous farce. The director tried to express this kind of emotion that was hot enough to devour each other through a lot of scenes where the two were alone, but he always felt that he was still unable to do what he wanted. The madness shown by the hero and heroine is only in form, and it is still not moving enough.
Fortunately, the climax of the whole play appeared, and it was also the turning point of the whole film. The male protagonist finds that the streets are covered with missing notices about the female protagonist, and a doctor can cure her eyes from blindness, as long as she is willing to go home. The male protagonist immediately set fire to all these notices, allowing the girl's face to gradually distort in the fire. At this time, what exists in his heart is no longer love. Love has been alienated and turned into a kind of human's most primitive instinct, which is no different from eating, drinking, and Lhasa.
He did not hesitate to destroy her eyes and smash the future within reach, just to accompany her for life. Seeing this, I no longer hold warmth towards them. The core of love lies in understanding and forgiveness, which is why human beings are different from other creatures. And the hero's love is like a beast licking food, greedy, desperate for possession. When the most beautiful warmth in human nature no longer exists, then persistence can only evolve into madness. Love without tolerance will inevitably lead to desolation.
As I expected, the hero's painstaking efforts did not keep the heroine's footsteps in leaving, and he was also arrested and imprisoned for arson and murder. Two years later, the two met again in Xinqiao. The heroine had the idea to draw a line from such a chaotic relationship. The angry hero argued with her, and the two accidentally fell into the river due to a fierce collision. I think that's when the heroine realizes that she can't escape this terrible emotional weight unless she shatters it completely, which she doesn't have. In the end, she chose to compromise, and after being rescued, she left by boat with the male protagonist, leaving Paris and the past behind them.
Although many viewers said they were deeply moved by them, I still couldn't agree with it. The first is the art form of Karax, which is a ticklish art form. It depicts emotional impulses and superficiality. It can neither make the audience resonate with the audience, nor has the magic power to touch the soul. It just hangs awkwardly in the air for the young artists to lust and reverie. . Second, I don't appreciate their extremes, nor do I like this kind of deliberate, dramatic life with ups and downs. Milan Kundera once said: The heaviest burden also becomes the image of the strongest vitality. The heavier the burden, the closer our life is to the earth, the more real it is. On the contrary, when the burden is completely absent, man will become lighter than air, he will float, and he will be far away from the earth and the life on the earth, and man will only be a half-real existence, and his movement will become free and without significance. The hero and heroine are just this kind of buoyant, unburdened souls. They have no sense of responsibility for life, but they are always looking for ways to make themselves more real, so a violent emotion becomes the best sustenance. The love between people is not a force of nature, but the product of the collision of desire and contradiction. In contrast, I always like the indifferent real life, the love and care that comes naturally. Maybe I will never become a so-called artist in my life, but at least I can keep a distance from this danger and anxiety. If someone really experienced the love in "Xinqiao Lovers", it would be either an early death or a witchcraft that breeds harm.
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