The plot analysis has already been commented by too many friends, so I won't go into details. A few small chats: 1. Is there "Karl Marx" in the original script? I think this is really a stroke of genius. It maps a real famous historical figure into the novel and the derived movie. I don't know the original author's intention. for what? Of course, the characters in the movie are indeed dressed up according to Marx's prototype with fluffy hair and a beard. In terms of artistic expression techniques and needs, even if Marx's descendants are alive, it seems that there is no way to find the original author, book The director and the producer are in a lawsuit. However, there is a scene in the film: when the inspector puts the photos of several suspects investigated based on the reading records of the library on the table, the photo of the character "Karl Marx" in the play is indeed a real historical figure - Karl Hay Is it a legal infringement to use a real photo of Karl Heinrich Marx himself?
2. Some friends wonder why the heroine is not very active in husband and wife intercourse, and even on the wedding night with her husband Klee, she also showed a strong sense of rejection. One way of saying that the heroine is actually a woman who pursues self-development beyond the Victorian era, and she is unwilling to succumb to inflatable dolls and tools for giving birth only as her husband's sexual desire. I think in addition to this, there is another reason why the heroine hates sexual behavior between men and women (not to mention sex)-I haven't read the original book, so I don't know if there is any abridgement of the original content from the original book to the movie, but this film When the middle-aged heroine recalled her childhood experience of being scalded and abused by her mother with a long red-hot sewing needle (the director and the camera seem to have no intention of expressing the scalding and abuse), she revealed the slightest plot: the film is going backwards for more than 1 minute, and the picture shows It was the childhood heroine who sent the sewn canvas to the dock. After a chat with the uncle at the dock, an uncle took the hand of the childhood heroine and walked out of the crowd. It was estimated that he was going to a small dark room. The reason for this was to bring childhood. The heroine went to get the reward. The two walked out of the crowd, and the group of uncles around the dock were still chatting and laughing. When the two walked out of the crowd and walked towards the far end of the camera, everyone stopped making a sound, and the face of an uncle in the close-up also changed. It suddenly changed color and became silent. The director's handling of the scene seemed to imply that the heroine was then sexually assaulted by the uncle who held her hand to get the reward. Echoing this is also: in the middle of the film, the police find a little girl on the street who has seen murder puppets. As he took her by the hand across the noisy and dirty road to a street corner to meet the inspector and the nun who had brought in as an interpreter, the little girl uttered her first non-English (I guess Scandinavian) The language of the country), translated by the nun, the export is: The child says she's not for sale. My interpretation of this translated word is: the little girl wants to tell the inspector - she is not a prostitute, not a prostitute. At the same time, taking the role of this little girl and using this kind of plot to find someone to translate is actually telling the audience that in England at the end of the 19th century, at the bottom of the society, there were still criminal acts of prostitutes and prostitutes. The echoes and hints of the previous female protagonists to the memories of their childhood experiences. Therefore, in fact, it is the female protagonist who has matured early and pursued self-development since childhood (prematurity is not contradictory with the pursuit of self-development). There was strong fear, disgust and rejection, so she was reluctant to go to bed with her husband and have sex with her husband. Instead, she hired a former female colleague from the drama club to come to the house as a nanny and act as her husband's "filling house".
3. The theme of this film is suspense and thriller, but in order to show the social style of the background era of the plot and to express the plot in a proper position, there are still two exposed plots in the whole film.
One of the plots is that a popular actress in the drama club changes clothes in the backstage dressing room to prepare for an appointment with the heroine's future husband. The actress directly took off her clothes and put on a corset in the dressing room, during which she was completely naked and was seen by the dwarf actors of the drama club, but the woman did not show shyness, screaming and rejection, just an understatement A slap in the face of the dwarf actor.
The second plot consists of two shots: one is the maid and her husband making love and moaning in the cubicle. The female protagonist seems to be somewhat repulsive to the sound of the bed, but also seems to have the husband doing it under her nose. I am a little interested in the adultery that I designed and purchased. So the hostess took the book she was reading and walked past the door where her husband was doing business, and met the maid in the riding seat at a glance. The speed and angle of the camera are well grasped, and the actress Maria Waward, who plays the maid, shows the outline of a breast and a momentary "dew point". Another nudity shot was still done by Maria Waward. It was a few nights before the heroine poisoned her husband, and the maid continued to perform sexual services for the male owner. The camera was first given to Maria Waward. Deyi was completely naked on the back (to be honest, this woman's buttocks are quite good), and then the maid went to bed and snuggled up to the male boss. The clever camera angle and the ingeniously designed objects (bed frame, etc.) blocked it, just for the maid There is no second dew point, but the slender and graceful figure is shown, which meets the needs of the filming, and does not appear too erotic to avoid encroaching on the main suspense theme color of the film.
As for the handling of the second exposed shot, I think this is exactly what domestic directors should study and ponder carefully.
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