The rating of this film is not particularly high. It is a typical British comedy. What initially attracted me was the main character of the cover, Maggie Smith, who is both the serious and righteous Professor McGonagall in "Harry Potter", and also "Don't". The elegant and lovely old lady in Dayton Manor. From the allure of the country when he was young to the time he is still graceful and graceful in his 80s, he has always attracted the attention of the audience by relying on his powerful acting skills. He can definitely be regarded as a British national treasure actor.
In "The Lady in the Truck," Maggie Smith has changed her style, playing a stubborn, sloppy, annoying old lady who, in the words of a male writer, "is a bigoted, blinkered, cantankerous, devious, unforgiving, self-serving, rank, rude, car-mad cow. Which is to say nothing of her flying faeces and her ability to extrude from her withered buttocks turds of such force that they land a yard from the back of the van and their presumed point of exit". The reason why the original English words are quoted is because the male writers who have been obsessed with cleanliness for a long time have been unbearable by the old lady's living habits and character. . .
Margaret (Mary), an old lady living in the van, hates music. She can't stand the sound of children practicing musical instruments and would rather move away. When she hears someone playing music, she immediately runs over to stop her. And such Margaret was an excellent pianist when she was young, and she was full of incomparable love for music. Whenever I see the elegant performer on stage in a beige knitted sweater when she is young, it is difficult to associate her with the sloppy and unreasonable old lady in the van. What changed Margaret's fate was a sudden car accident. She didn't have to take responsibility for the accident and chose to escape because she was timid. From then on, she began to live alone in the truck and redeem herself.
Bennett, a male writer with a dual personality, usually needs a quiet environment to create, which is why he invited Margaret to park the van in his driveway. In Bennett's own words in the film, one is responsible for creation and the other is responsible for life. The creator is reclusive and busy with his career, while the other has a benevolent heart and takes care of Margaret's life under the same roof. From the final point of view, Bennett and Margaret are in a relationship of mutual influence and mutual redemption. Although the two are not relatives, Bennett never entered her van before Margaret's death, except for Margaret. Using the bathroom at Bennett's house seldom interferes with the writer's life, and the two have only one physical contact (handshake), and the conflicts caused by different personalities in the intersection of life have deeply affected each other. While Margaret repented inwardly, she was cared for and accepted, and Bennett also saw the shadow of her mother in Margaret.
One of my favorite episodes is Margaret's "wheelchair game", where Bennett helps push the wheel up to the slope, and then uses crutches to help the wheelchair slide down. Bennett trots behind to protect Margaret, A very warm picture, a child in his 80s is still young, and a kind heart is beyond words.
The story of Margaret's life makes people uneasy. In addition to the caring heart that human nature should have, maybe we can calmly think about how to face the baptism of life. If you don't break out in silence, you will perish in silence. Most of the time, there are actually more suitable choices.
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