The life of an upper-middle-class family is a topic that has been frequently seen and read recently, such as Eyes Wide Shut, The Neighbor's Wife, The Adelmans, Marriage Story, and Paradise Lost. Among them, "Eyes Wide Shut", "The Adelmans" and "Paradise Lost", the arrangement of the families in them is known to be of a high-middle class level, and the occupations involved include business ("Infidelity", "Neighbor"), engineer ("Neighbor"), Actors ("Marriage"), doctors ("Big"), writers ("A"), editors ("Loss", "A"), craftsmen ("Loss"), gallerists ("Big") and other broad Cultural Worker ("Infidelity"), in which the similarities and differences of different countries' cultures can be seen - a typical portrait of a middle-class family?
The families in "Infidelity" seem to be the most harmonious and happy. They don't have the oppression of their original families in Paradise Lost, or the contradictions they will face in "Marriage Story". Edward is kind-hearted, financially rich, and understands. Paying, having a fit body, caring for his family and his wife, except for his small eyes, he can hardly find any shortcomings. But at the beginning of the story, Connie is working in the kitchen, and the camera shows her son sitting on the ground (not as dramatic as "A", he is a normal child), the big dog dragging the food bowl and making noises, and finally the Edward with his sweater turned upside down. She talks to her son and her husband and steps on the food bowl to prevent the dog from running around. She is superb and has no mistakes.
But it's really awkward, I believe that the feeling of awkwardness is not preconceived.
Everything Edward says is decent, and it can be said that for most of the film, he plays the role of a good husband, a good father, and a good boss. For a moment, I thought of the character of Masato Sakai in "Golden Dreams". He is a good guy who even has a routine to eat chocolate and share more with his girlfriend. Edward is like Masato Sakai in "Golden". A friend told me that he only likes hot porridge and ice porridge, but he can't stand warm porridge.
Women are always more sensitive to these.
Connie has a secret grief, and the film keeps secretly giving evidence: Edward notices that she bought her new silk pajamas and pretty high heels when he suspects she's cheating, but Edward really isn't having fun playing with his new VCR. The few shots from the VCR are provocative—shaky, blurry, first-person, like the prelude to a home-made porn. Connie crawls towards him like a snake, slowly raising his head, the two secrets looming under his pajamas, but Edward, this stupid bird, still sticks to the fixed routine, he puts the VCR aside and asks Connie meticulously, like "Female Addict" In the first-class compartment, the elite man who looked to be of Central European descent, or the square-headed son-in-law in "Hopeful Men", turned out to be the only remaining romance interrupted by the child's call. Edward got up quickly, apologized to Connie, and didn't forget to say a wisecrack that could have been in the first edition of the Dictionary of Life since the birth of the middle class. Holy shit! Those who care will see that Connie was actually wearing a very beautiful black silk pajamas that day. I'm thinking that if Edward's heroic wind suddenly rose and the sky broke, and the two of them had a night and a morning, I'm afraid there would be no back story, and I wouldn't have to wait until the death to regret it.
What's missing from Connie's life? I think it's uncertain, adventurous, new, or even small bad things, such as the "incidents" of stealing cups and cheating wine in "Love Before Dawn". Count on the head of the marriage. The ideal marriage does not require a person to concentrate on intimacy 24 hours a day. Intimacy is mostly the air, and a few times it is a sneezing osmanthus rain, fragrant but with unexpected reactions like allergies. The crystal ball representing love (which exists like a token when Edward and Connie traveled) is infinitely beautiful, but don't weigh this still water with uncertainty, adventure and newness, they can be weighed, but please don't Do this, let alone quantitative comparisons, people are greedy, they just want it.
Booksellers are flirtatious, like French pie, and their skills are perfect. He said to Connie "hit me" is actually an initiative, he let her go at any time, and the beast-level sexy behind him is even more so. Compared with Edward, he is a symbol of freedom, full of imagination. Compared with "Paradise Lost", the sex scene in "Infidelity" is a hundred times better, not only because of the wildness, but also because the two people's body rhythm is adjusted in the same way, every time it is like an enlarged version of their only dance. ——From 0 to ignited to lustful, but then Connie didn't escape.
Edward, the good old man, didn't collapse when he killed the 28-year-old Paris bookseller (Connie's new love), but when he fired the employee who had been poached by many other companies. Edward's toughness was exchanged for hostile provocation from the employee who had seen the bookseller kiss Connie. The good old man's blindsight was deeply slapped in the face at that moment. Edward is not bad, he should never have imagined himself in such a situation before, and even when he and the bookseller looked at each other, the color in his eyes was not hatred. It's just that the deep distrust of men, like Cruise in Eyes Wide Shut, sometimes turns into complete distrust once there is a crack. Both extremes of psychology are unhealthy, the former is extreme inertia, and the latter is extremely active. Sometimes I want to find a big flowing river and stand there, just like Haruki Murakami watching the flow of people, thinking about nothing, looking at her, and thinking about how to really understand the flow.
There's not much to say at the end, it's just a possibility. The ending may also be "Day Yan", "Day Yan" (theatrical version), "Eyes Wide Shut", etc. "Infidelity" gave a life-like ending, similar to "Day Yan". It's more artistic than Eyes Wide Shut.
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