The film begins with a focus on the male protagonist's living conditions, showing several scenes from his life in pieces, but until he encounters an old friend and is eventually led into the fire pit, we still can't figure out what Rohmer is trying to say. kind of story. This boring middle-aged man has a boring routine, chats reluctantly with his colleagues, and tries to follow the girl he meets (at the time, the importance of this blonde girl could not be seen), so what can happen to him? Woolen cloth?
After he met his young friend, the two boring men started chatting about seemingly boring topics, but in fact the argument about Pascal involved here concentrated on the inner state of the male protagonist, and even predicted his future destiny. What are they arguing about? To put it simply, Pascal has a saying that we are faced with two options, one is that history is meaningless, and the other is that history is meaningful. Even if we think that the former is far more correct than the latter, we still have to choose the latter, Because it is only by choosing the latter that we can go on living, and if we choose the former, even if we are right, we will still have nothing. From this point of view, the male protagonist develops a mathematical claim that we choose the latter because, even if the odds are small, the payoff is infinite. We will find out later that this point of view constitutes what the male protagonist is inexplicably clinging to in the Mutoku family despite being ridiculed and tempted.
Another interesting point is that the male protagonist expresses his dissatisfaction with Pascal, who mocks Pascal for not knowing how to enjoy food, not understanding passion, or the importance of some kind of life experience. However, this dissatisfaction of the male protagonist seems to be more like a gesture to show to himself and others. He tries to use this gesture to show that he is not Pascal's kind of person. He knows how to enjoy and experience life. He has several girlfriends. It's just that I don't want to get married yet (really?).
Well, the problem now is that although the male protagonist's mind is haunted by Pascal's infinitely rewarding risk-taking proposition, he lacks the determination to bet his life; A cynical friend—an old friend in stark contrast to Murder, who desperately tries to show that he actually enjoys experiencing life, or compromises with the more realistic side of it, by mocking Pascal's attitude to life.
To put it more bluntly, with the gradual persecution of the dialogue in Mude's house, the dilemma of the male protagonist began to sharpen, and then we discovered that the male protagonist did indeed have a certain belief in the girl whom he met at the beginning of the film, believing that she would become him. 's wife. But to what extent is this belief truly upheld by him? We can even say that this belief is to a certain extent a kind of obsession inspired by the ridicule and side-talking of Mude and his old friends, and its purpose is to give the hero a reason to resist the temptation of Mude.
Interestingly, the male protagonist himself is showing a temptation, a temptation to tempt others to tempt him, because of his words, deeds and attitudes that give the impression that he has a certain moral abstinence stance, but also seems to frequently indicate that he is actually happy to. Embrace the adventures of life. So in the context of the complex relationship between the old friend and Mude, the two jointly formed a conspiracy trap to seduce the male protagonist.
In fact, after the male protagonist finally resisted the temptation of Mude with his own inexplicable beliefs, this belief has a real possibility of being realized by chance. By chance, I was able to strike up a conversation with the blonde girl, and then gradually approached it premeditatedly.
But the real key actually came out that night. The male protagonist paradoxically formed his own beliefs to resist temptation by fighting against temptation. Willpower to resist temptation, and finally a belief is formed, through his chagrin that he resisted temptation.
So we find that, here, a certain belief or belief is formed not through Kierkegaard's leap to impossible magnificence, but through human weakness, hesitation, persistence, and disguise.
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