My favorite compliment to Paris is Baudelaire's sentence: "There, the ghost and the sun are with the sun, seducing passers-by."
The great writers in history have been seduced by this city, and they have come one after another to serve it. The legend adds some stories and some good talk.
What was Paris like in 1968? In the history books, it is "The Storm of May". In the history of music, it is probably the era when The Doors, John Lennon, etc. were regarded as totems by young people. The history of movies is even more brilliant. NEW WAVE, the most famous in France, is almost worshipped by future generations. The "Cinema Manual" founded by Andre Bazin of the film bible, master directors Truffaut, Godard, it was a flourishing era of art, new ideas wrapped a new generation of young people, Bertolucci's What 1968 was like, 35 years later in The dreamers we see.
The heads of Che Guevara, Chairman Mao, and Ho Chi Minh became the spiritual totems of that generation of agitated young people. Rimbaud wrote in a poem: "We are armed in burning patience, and enter the glorious town with dawn." Rimbaud was a teenager at that time, but his eyes were already full of scorching flames. Armed, revolution, and movement became The perfect form of idealistic outbursts in the minds of such young people.
The protagonists of "The dreamers" are a pair of French brothers and sisters Isabell and Theo and an American young man Matthew. Such a lineup is easy to think of Truffaut's masterpiece "Jules and Jim", but it is not about love, but two The sadness and despair that filled with dancing youth but helplessness are very similar. I thought that Lao Bei seemed to be trying to present a nihilistic sense of growth in the context of turbulence.
Three Boys Over Flowers are crazy about movies, and they are addicted to a game of guessing the name of the movie by expressing actions and lines. The most fascinating part of the film is that the three imitate Godard's movie "Outlaw". The scene of the bridge crossing the Louvre is so youthful, burning, wanton, and cynical.
The brother and sister Isabell and Theo are undoubtedly not grown up at all. Theo criticized his poet father for not signing the anti-Vietnam War petition. He accused his father of a young man with lofty ideals, but his ideals were extremely weak. , basically stopped in the ideal state, he didn't even know the meaning of this revolution, nor was he ready to do anything for the revolution. They are immersed in the kingdom constructed by their own idealism, a world of images temporarily separated from the times, a sexual sinking of self-imposed exile, and a confused and fragile embrace and entanglement.
Enjoy unscrupulous nonsense in their "Kids Zone", and the world outside the window, the vigorous revolution has arrived, and history is unstoppable, but they are indulging in being filmed, by Marlon Brando, Marilyn Monroe, Marindale In the world wrapped in Deli, Rita Hayworth, and Gene Tirini, she is unaware of everything outside.
The young people of that era were no longer interested in the boring middle class, and fanatically wanted to create a new society: no big bourgeoisie and little bourgeoisie, no big fascists and little fascists.
They attempt to transform an era with passion and fanaticism, but perhaps, in the end, they can only be transformed by the era.
There are many differences between Lao Bei's film and Gilbert's original book. In the original novel, the brother and sister Isabell and Theo are set as an incestuous relationship, but the film plays down this, and also makes a little bit of Matthew's homosexuality in the novel. over processed.
The biggest difference is the ending, in which Matthew is accidentally shot in the middle of the movement's frenzy, leaving Isabell and Theo mourning their irreversible song in Truffaut's "Steal a Kiss" and Chartreux. Growing up and remembering their mutual love.
And I prefer the ending of the movie: the naked entanglement of the three boys is witnessed by their silent parents, Isabell decides to turn on the gas to commit suicide, but the stone of revolution knocks on the window, causing ripples in the peaceful sleep of the three teenagers, and they wake up suddenly Come, plunge into the revolution in full swing outside the window. Theo is frantic, Isabell agrees, and Matthew turns away indifferently. It doesn't explain anything, but it has infinite deep meaning in it. Old Bella went up to the curtain and hid without saying no It doesn't matter if we grow up, or even just the three wonderful body collisions in Lao Bei's lens, just because such agitated and weak idealism was embedded in our youth.
After 1968 and soon into the 1970s, the "Beat Generation" may be the generation of the 1968 revolution.
Gilbert said: "
As we grow older, our belief in hope and happiness becomes less and less, and our inner hopes that will eventually come to nothing.
I thought so.
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