Love physics

Deron 2021-11-19 08:01:28

The weekend is the most suitable for watching American TV series. You don't need to hang a heart in the air after watching it in one breath. If there is no American drama, then you should watch romantic movies, because romantic movies require patience and cannot always press X2 to fast forward. It's just that you can't watch it on Sunday night, and you should switch to action movies or horror movies. This is called prep. You will have sufficient psychological endurance when you go to work on Monday. This weekend I watched "The Lake House" (The Lake House), starring Keanu Reeves and Sandra Bullock, golden boys and girls, who are still so convincing after forty.

It is said that this is the American version of the Korean movie "Untouchable Lovers". I haven't read the Korean version, but the US version gave me great enjoyment. It proved that I felt very sad when the hero and heroine kissed. As a science student, I like the concept of parallel universes: In 2004, Alex Wyler (Keanu Reeves) received a letter from Kate Forster (Sandra Bullock) in 2006. At that time, Kate left the lakeside cottage, so he put a letter for the future owner in the mailbox. As a result, the entire universe did not know why the distortion occurred in that mailbox, which caused the letter to be directly transmitted to Wyler in 2004, who was the first owner of the lake house. Of course he was very strange about this, so the two began to write letters through the mailbox. . . . . .

In my opinion, this kind of thing is very dangerous. Because the "now" shared by the two people is actually two years apart in time. Then they are equivalent to living in two parallel time and space. What's worse is that the time and space where Wyler is located is "history" for Kate. Because the mailbox connects the two different time and space, this leads to Wyler's behavior. Affect Kate's life. If this is completely logical, then Kate's world will inevitably be destroyed. For example, if Wyler gets the stock quotes from Kate two years later, he can quickly become a billionaire. At this time, a celebrity that didn't exist before suddenly appeared in Kate's world, and all the things in this world were rewritten to adapt to this change. Then, Kate's world will become a magical world, where someone will appear or disappear at any time, and events will happen or be erased. Such a supernatural world is totally unsuitable for human living. If Wyler is always childlike like me, how about drawing a little turtle on Kate's forehead with a color-fast pen?

So this is a story that may collapse at any time, because logically it cannot justify itself. But this film is very fortunate. It happens to be a romance. Love never needs to justify itself. People often appear or evaporate inexplicably, and things happen inexplicably or are forgotten. If you say that, this film is completely in line with the perspective of love, and the world observed from this perspective is indeed full of various supernatural phenomena.

Through the letter, the two people fell in love. But they never see each other because of the chaos of time and space. Therefore, any date is surprisingly long. Wyler asked Kate to meet "tomorrow," so he would have to wait two years. This is of course very romantic. For example, when you go to book a table, you can tell the waiter that I need a two-person table for tomorrow, two years from now. When Kate went to the restaurant, the waitress could envious her tears. It was this place that broke me down: Wyler must not be idle for the past two years, and had to write to Kate, and write for two years. He wrote it, and Kate naturally got it back. The problem is that for Kate, they will meet "tomorrow" and they will be together when they meet. So what bird letter does she want to write? This means that she finally met her lover, the two embraced tightly, and lived happily ever after. However, she had to get up early every day, send and receive letters in the mailbox at the door, and write to him who also existed at the same time. This means: She has two lovers, one is always writing letters, and the other is by her side now. What other options do I have besides crashing?

Okay, let me give up these stupid ideas and I'd better come back to watch the movie. Since there is a difference of two years, there is an obvious problem: waiting. This is the theme of the film. Since the time of the two people is passing equally, they can only make an appointment and wait together. Because Wyler missed the appointment, Kate, the party who had waited the shortest time, proposed to break up first and let her return to real life. In order to meet her lover and get her hug, Wyler prepares to enter the car accident that Kate witnessed on Valentine's Day two years ago. He felt that he couldn't live without Kate, so he would rather be hit by a car, then fell into Kate's arms and died.

At this time, the time and space factor played a role. Kate discovered this bad motive in time, because she learned that Wyler had died, on this day two years ago. So she activated the mailbox again and asked the other party not to be anxious. Waiting for her, she waited in the hut by the lake. In the next few minutes, she would decide Wyler's life or death. Wyler received the letter, and this time he calmly waited for two years, and walked to Kate who was waiting anxiously by the lake.

In retrospect, if this kind of love physics really holds true, it is actually very simple for them to meet: Kate moved to live in a cottage by the lake and waited for death. Then they will meet soon and stay together. However, to be able to wait for each other all the time, to have this kind of confidence, and not to change his mind in the middle, requires an extremely strong love. Therefore, although this story is full of loopholes, it tells the truth beyond the reach of physics and logic.

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Extended Reading

The Lake House quotes

  • Simon Wyler: Where's your brother?

    Alex: I sent him away. He wasn't feeling well. You know how he is, he worries.

    Simon Wyler: Yeah, I know. He gets that from your mother, I'm afraid. She always worried too much.

    Alex: What are you looking at?

    [looking at architectural plans]

    Simon Wyler: Hmm? Oh, yeah, here, take a gander. It's a proposal for a museum.

    Alex: Who is it?

    Simon Wyler: Someone new.

    Alex: Oh, I like the walkways, where the light falls. What are the materials?

    Simon Wyler: Granite. Aluminum.

    Alex: White panels are straight out of Meier... but the interior color coming through the front windows, that's different. It's not new, but it's clean, uncluttered. I like it.

    Simon Wyler: When was the last time you were in Barcelona?

    Alex: Years ago, with you, Mom and Henry.

    Simon Wyler: Do you remember visiting Casa de la Caritat?

    Alex: The almshouse.

    Simon Wyler: That's right. You mentioned Meier. His Barcelona museum stands in the same area as Casa de la Caritat. It drinks the same light. Meier designed a series of louvered skylights to capture that light and cast it inward to illuminate the art within, but indirectly. And, that was important, because although light enhances art, it can also degrade it. But, you know all that already, you son of a gun. Now, this... where do you suppose this is to be built?

    Alex: I have no idea.

    Simon Wyler: Oh, but you said you liked it.

    Alex: Conceptually.

    Simon Wyler: Now, come on. You know as well as I do that the light in Barcelona is quite different from the light in Tokyo. And, the light in Tokyo is different from that in Prague. A truly great structure, one that is meant to stand the tests of time never disregards its environment. A serious architect takes that into account. He knows that if he wants presence, he must consult with nature. He must be captivated by the light. Always the light. Always.

  • Alex: There should be a stairway down to the water, a porch, a deck. Here, you're in a - in a box. A glass box with a view to everything that's around you... but you can't touch it. No interconnection between you and what you're looking at.

    Henry Wyler: I don't know, you know. He's got this big maple growing right in the middle of the house.

    Alex: Containment.

    [He pushes a button which opens a glass door]

    Alex: Containment and control. This house is about ownership, not connection. I mean, it's beautiful. Seductive, even. But, it's incomplete.

    [He pauses]

    Alex: It was all about him. Dad knew how to build a house, not a home. But you know... I think he wants us to do what he couldn't. But, admitting that would mean admitting that he came up short in some way... that he could do more. And that tortures him.

    Henry Wyler: Do you remembering being here with Mom?

    Alex: I remember she tried to make it work here... with us... with him.