(Records of some favorite clips, and depictions of human nature)
This is the second time watching this movie. I don't remember when I last watched it. I gave it four stars, but I didn't leave much impression except for Lolita's attractive beauty. What is impressive is still the love of the male protagonist for Lolita in the original book, Lolita, the light of my life, the fire of my desire. The plot only remembers the ending of Lolita's death. When I rewatched this film, I gave it five stars, and I couldn't find any faults, and every detail was implemented in a breathtaking way. But these details, I did not understand in the past.
Lolita is a goblin, and every look she looks at the professor is so provocative and triumphant. "You are paying attention to me", "I caught you", "I just want to tease you and see how long you will endure". Such a Lolita sat on a chair and put her long legs on the table, exposing her tight thighs. With chewing gum in his mouth, he rolled his eyes and looked at the professor, as if to say, "It's so boring, let's see if you can give me some fun." She took the gum out of her mouth childishly, pressed it on the professor's open notebook, and ran away. A tease expressed in a childish way. The professor hurriedly tore the piece of chewing gum from the paper while no one was there and stuffed it into his mouth, along with the piece of paper stuck to it that was too late to remove.
In the hotel they passed by, Lolita woke up in the middle of the night and asked for water. The professor brought her a glass, and she drank the water with her eyes down like a child being cared for. After drinking, she leaned her mouth against the professor's shoulder and wiped it twice, leaving the water stain on his pajamas. The shot was played very slowly, and the professor was clearly in awe. If I were a man, I would be swaying too. No, I'm a woman who can rip too.
When she woke up in the morning, Lolita was eager to tell him about the bad things she did at summer camp. She has been impatient to talk since last night, because she wants to repent. She felt like she had done something bad. It is indeed a bad thing for their age, a taboo thing. And they haven't reached the age to completely remove the shame and guilt about sex. However, she had just explained the bad things she had done, so she couldn't help showing off, riding on the professor and wanting to show him everything.
Lolita was undoubtedly a child to die, but when her mother was around, she was a child to die in a safe environment. After her mother died, she became helpless and, as a child, lost her normal support. Although the professor loves her, he cannot give her a normal life. Lolita obviously doesn't love professors, it's just the mischievous mentality and freshness of adolescent children. When she was tired, he couldn't control his desire. She accurately identified his desires and turned into a girl who used sex to please him and asked him for money.
The professor was sitting in the rocking chair, holding a newspaper in his hand, like a serious and dignified father, and said to her, "No, you can't go to the drama. If I say no, then you can't." Lolita came over, sat on the ground, sat in front of his chair, stretched out one foot, and rocked the rocking chair gently. The professor's eyes stretched from the newspaper to Lolita, who was staring at him with seductive eyes, and immediately lost her majesty. As mischievous as Lolita was, it was still a flattery, a domineering flattery from a mischievous little girl. When Lolita's hand climbed up his thigh and asked him, do you want it, you want it, right? He had absolutely no room for resistance, and finally lost in Lolita's bargaining for pocket money, agreeing to two dollars a week in pocket money.
After that, the plot took a turn for the worse. The narrator said, "I'm getting used to Lolita using sex to ask me to buy her various things, but I never knew where she hid the money." In the picture, the two bodies are shaking on the dim bed, You can't raise prices halfway, the professor said. Lolita got up to leave, and the silver coins fell on the bed. They were scrambling to grab the coins, making the rushing even louder. Luo hit him with the pillow, and they almost scuffled together. The professor went mad, asking if she was plotting to leave her, rummaging around the house while she wasn't there. When he found it, he put away the money and Luo ran out and asked him to return the money to her. The professor didn't want her to go and said, that's the money I gave you. Luo shouted, that's the money I made! The words were so deafening that the professor slapped her. The contradiction that has been hidden and described in the way of dark lines has completely erupted. Luo shouted: Kill me, you pervert, kill me just like killing my mother! On the way before, Luo was sobbing alone in the middle of the night, and when she got back to the car again, she leaned against the window in annoyance. She had already felt resentment, even resentment. The seeds of escape had already been planted, and all the sweetness that followed was the forced flattery of a powerless girl. There is no emotion between them. At this point, their relationship has completely deteriorated. No matter how much the professor thinks he loves girls, he is just a beast trapped in his own desires, dominated by desires, and has to use what he has, control over Luo, and become a crazy maniac. To say that Luo's mother's car accident is indeed too strange and coincidental. I totally believe it was the professor who killed her mother and pretended to be in a car accident. He can marry a woman he doesn't love for Luo, and can feed his wife sleeping pills for a month. I believe he can do such a thing as murder. Then he did kill the playwright. After this conflict, Luo ran away from home, and when the professor found her on a rainy street, she suddenly became amiable, wanted to get back together, and offered to take a trip. However, this was just another conspiratorial escape.
The day before her escape, the professor went out to buy fruit from the hotel and came back to see Luo wearing a men's shirt, with muddy feet and lipstick spilling over his lips. When he asked her where she had been, she lied calmly, panicked at a glance, full of pride and fearless provocation, just like the provocative eyes she had when she first saw the professor. The professor pushed her down and landed on her roughly like a madman, asking, who is that person, who is that person? I don't remember if I watched this movie in college, I didn't understand the plot at all at that time. A woman who suspects herself has been raped by another man, driven by frantic possessiveness, eagerly inserts his own bodily fluids into the female in an attempt to regain dominance. Still a well-educated male with the title of professor. Possessiveness drives a male mad, and the professor picks up the gun and fights the predators in the shadows with trepidation. Not rivals, but predators. But Luo still escaped, and the professor lost his soul, like a lost child's father.
The scene where the two meet again three years later can be said to be very miserable. Without this scene, the professor would be a beast. But Luo, who had a big belly, told him that the man (the playwright) was the only man who drove me crazy. The professor paused and asked again, what about me? Luo didn't answer her and turned to another topic. The professor said to her, (please allow me to copy this conversation in its entirety)
Professor: Lolita, I just want to say this. There are only twenty steps from here to the old car you are familiar with. Take these twenty steps. Come with me. now. Lo: You mean if I go to a motel with you you'll give me money? Professor: No, no, no. I mean get out of here, live with me, die with me, everything with me. Lo: You're crazy. Professor: Even if you say no, you still get the money. Luo: Are you kidding me? Professor: He handed her an envelope. She took it and took it apart, taking a deep breath. Luo: You give us four thousand dollars? The professor burst into tears and covered his face with his hands. She touched his wrist. Professor: No. Do not touch me. If you touch me I will die. Is it impossible to follow me? tell me. Lo: Impossible, dear, no. I want to- oops.
"Don't touch me. If you touch me, I'll die." These words suddenly turned the professor from a perverted beast to a true lover, a sad, unloved person who can only give money portion of the person. And the last murder was too pitiful.
I also really liked the murder scene at the end. How disdainful the playwright was at first, naked and wearing pajamas, he sat lazily on a chair, raised his legs, and touched his exposed thigh with one hand. decent. After the professor fired a shot, he showed a look of fear of death. In order to coax him, he lied a lot, but there were some true and piercing words in the lie. You are not her father. You didn't make a good stepfather. She is not happy with you. Then they chased. The playwright, who was forced to the last room, turned his back to the professor's gun, and played the piano, a fast-moving tune, as if the notes could replace his escape. When he was shot, he let out a scream of fear of death, which was indecent. The blood-splattered keys were still playing, even more rapidly and frantically. The playwright ran into the bedroom full of blood, lay down on the snow-white bed, and covered himself with a quilt. The last words he said were: Get out of here! Powerful and majestic, as if to die with dignity and dignity. Then he was killed by the professor's refill gun. After he died, he spit out a red blood bubble from his upturned mouth. The bubble burst quickly, which was a bit funny. The professor watched the bubble burst, put away the pistol, and returned to his usual expression, just like when the story started.
The metamorphosis of the playwright further highlights the affection of the male protagonist. But in fact, they are all perverts, but the male protagonist is a novice, and the playwright is a habitual offender. Novices need to embellish their metamorphosis with affection, and give their metamorphosis a magnificent and unquestionable varnish. And repeat offenders, who have long since eliminated their inner guilt and have an antisocial personality-like indifference, can commit crimes again and again in a planned way. The essence is the same, it is nothing more than greedy for other people's bodies. When the opportunity and strength are sufficient, they let go of their own desires and let themselves be swallowed by desires. Who doesn't like a young body?
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