Classics and Literature: Before filming, Rohmer served as a teacher, magazine editor, and film critic. The most important thing was his role as the editor-in-chief of "Cinema Manual", which allowed Rohmer to move between images and texts with ease and originality. Rohmer's film journey began in the 1950s, from the earliest series of short-form trials, followed by the outbreak of "Leo Constellation", "One Night at the Mude Family" and other finished products, until the "Four Seasons on Earth", "Four Seasons on Earth", "Four Seasons on Earth" filmed during the seventies. The birth of the series of masterpieces such as "moral stories" and "comedy and proverbs", Hou Mai has always adhered to the simple and simple, fresh and natural, literary and classical personal style. This inner classicist is not only a writer and thinker, but also a unique filmmaker. The advantages of multiple identities and positions have opened up the unique image world of Rohmer. Without the intervention of a third party, from the creation of the text to the operation of the shooting, Rohmer personally completed the overall exchange and presentation of the transition from literature to video, keeping the core and value of the two works of art at a high level. . The identities of the writer and director directly affect Rohmer's creation, pushing the elements of the literary concept onto the screen, showing it as a situational indoor drama that combines both classical and literature. These styles are expressed in various works in the setting of occasions and scenes, the psychological portrayal of characters, the dialogue between characters, the control of language, the decoration of stage props, and the narrative structure of literature. In terms of subject matter and textual form construction, the works such as "The Marquise of O", "Parsifal", "The Lady and the Duke", "The Romance of the God and Goddess" are intuitively given a traditional historical theme and pattern. On the one hand, it tries to decompose various characters in different situations, different times, and different societies. Language and behavior: In the 20th century, in the relatively free environment of Europe, where ideas and doctrines flourished, Rohmer, who came from a Catholic family, liked to discuss various philosophical ideas. After deviating from the left-wing films of the New Wave, Rohmer opened up a dialectical and quiet path between sensibility and rationality, often through the in-depth collision of two opposing values, and then through the characters' behaviors, verbal discussions, decomposition of lust and emotion, psychological awareness and Reality constraints, etc. Language and behavior are the two major attributes in Rohmer's works. The characters in the works are mostly around a round table to discuss their views on things and make a series of behavioral responses. It is usually said that inner consciousness restricts language, and dissent creates conflict and situation. Consciousness constrains behavior at the same time, action leads the situation, and behavior and language are subject to the control of inner consciousness. In truth and falsehood, there is always a deviation between language, behavior and the true opinion of the heart, and human reason cannot always overcome the instinct of the senses. In the constraints of clear moral norms and religious etiquette, the protagonists are not ashamed or not good at discovering and revealing their true inner voices. The two major contact media of human sensibility and rationality, through the identification of two tastes, have differences in the difference between intuition and thinking. The multiple cognitions and norms of things make people's thinking fall into a vortex, multiple value consciousness is dominated, and people's subjectivity triggers games in different directions of thinking logic. This is the root cause of confusion between people and between people and things. We jumped out, and Rohmer, as the facilitator of the problem situation, clearly understood what he was doing and what he wanted to convey. Language and behavior are the media surrounding the core of the text, and the information contained in it is left to one's own thinking. Unless you step out of the circle, everything may be generally meaningless. Between circumstance, reason and intuition, the individual is always a small part of how things work. Talking about "One Night at Mude's Family": Mai has already entered the age of no doubt when he started to make the film. The accumulation of knowledge and experience in the early stage has made Hou Mai's film not overly formal and mean, and the film is always filled with a gentle and lightheartedness. Wise. In terms of mentality, he does not criticize characters or moral judgments, and he is always a bystander between the beginning and the end of things. The cyclical discussion of loyalty and love is not only an important component of life, but also the driving force of the author's creation. As Rohmer's famous work, this film has a light and humorous atmosphere everywhere in its length. The rhythm is always concise and graceful. A few simple characters and several occasional dialogues solidify the overall atmosphere and thinking behind the structure. Based on Pascal's "Book of Thoughts" and religious morality, a dialogue between sex and love, morality and integrity. As for Louis' situation, on the one hand, it is the rational restraint from the Catholic family tradition, on the other hand, it is the instinctive sensuality of human beings, on the other hand, it is moral and righteous words. Melt down. To an outsider audience, the dialogue between Louis and Murder is particularly hilarious and stretched. However, in a scene many years later, Louis and Mude finally met by chance. When Louis felt the shame and unease in his wife's heart, Louis intellectually abandoned his religious beliefs and moral burdens and comforted his wife again and again. At this moment, when I look back at myself, my wife turns out to be the other side of my situation under lust! The film's setting of opportunities and coincidences in life phenomena, and the devious and tactful creation of things and events, made Louis abandon the dogma and rationality he adhered to, and began to listen to the true voice of his heart, face up to his cowardice and pretense under the moral constraints, and gradually realized that he was a human being. The complexity of the state, the limitations of the situation and the cognition of things, draw a perfect end to the marriage.
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