Recently, I often discuss with friends and family why life is so dull. It happened that I recently saw the windy "normal people", and felt that its overall presentation had some correspondence with my recent thoughts, so my thoughts on this drama will start from the details of the life it shows.
Usually bland and boring, the flow of life refreshes the numbers on the calendar, quietly soaks the boundaries like water, and the sense of time disappears. Similarly, there are not too many violent conflicts and transitions, and there are only flowing fragments of life in "normal people", about letting go, talking, carnival and leisurely wandering.
So when I was watching this drama, even though the hero and heroine had been tearing each other for four or five years, in the last episode, the two finally became intimate in public and the camera flashed back to the first time they rubbed their noses in middle school, and I felt it. It's time difference.
One of the charms of the show is its selection of life details and snippets of conversation that seem irrelevant. It's like the seemingly meaningless things we seem to be doing a lot of times, but God knows, it's really no fun without these things.
When watching this drama, the phrase "Life is like an ocean, only those with strong will can reach the other shore" always replayed in my mind. The male protagonist warms the world like a warm current. You can see that even if he is angry, he is still kind and unwilling to hurt others.
The heroine always maintains an external angular rampage. Only when she is morbid, does she slack off her fake shell tiredly. She is like a cold current, and every visit will always cause desertification.
If Yohji Yamamoto said, "You can't see yourself, you have to bump into something else and bounce back before you understand yourself", then the male and female protagonists can be called each other in this world on the only wall.
Only in each contact with each other can they see and feel who they are. It's just that the encounter between two people like cold and warm currents will always cause fog, and it takes more time and patience to find yourself in the fog. So we see that they have a brief separation, but they never hesitate to give each other some strength to bond, and they seem to swim to where each other wants in the end.
The ingenious design in the play embodies this interactivity very playfully. The two experience various exchanges at different stages of their lives. In high school, Cornell, who pretended to be integrated into the actual alienation from the environment, but still got along like a duck to water, was in college. Watching Marianne pretend to talk and laugh in the out of place environment. The two were rescued by each other after falling into the pain, and they slept next to different people to share the sleepless night.
They have some kind of connection beyond physical and physical that pushes them to get into trouble every time they touch a real material problem, and after every physical contact they want to step back and go back to the friend's place, as if the friend's place can Let them be more rational and support each other.
This state of relaxation and connection I once felt in "Love at Sunset and Dusk". The male and female protagonists of "Love Is" met again after many years, and the greenness and sweetness of the first meeting faded away. The topic of conversation between the two at this time was no longer restricted to the nervousness of pretending to confess on the phone in the first part. More It is to tell the current situation and view of the world like a friend.
In reality, there are many obstacles for the two to be together, but aside from this, the two have a kind of natural connection. This state also exists in "normal people" similarly.
Cornell's pain, collapse, and crying are not only due to the death of his friend, but more because the death of his friend pierces his well-pretended calm routine like a needle. This routine is related to success, excellence, and talkativeness. The other end of the mask is connected to his incomprehension, alienation and restraint.
However, this situation has haunted him since middle school. At that time, Marianne wore her mask backwards, so he saw Marianne's inconsistency, incompatibility, and restraint. With a similar structure, he certainly noticed her inner strength. You're most powerful when you're pretending to be someone else, because at that time you're so real that you can't hide from others, and Cornell fell in love with Marianne at this time.
Marianne's pain stems from a curse brought on by domestic violence, and she believes no one will love her. So she was willing to do anything to keep others. We've seen several times at times like this that Cornell always gets swayed and wants to retreat.
Each of Cornell's retreats and swings has a different reason. When he was a teenager, he didn't want to break his social image. In college, he had an inferiority complex. When he grew up, he found that the two of them were best in the position of friendship. The reason why it has been floating in the air is that Cornell can't read Marianne. She is an independent and intelligent Gumin, a long-sleeved and danceable being, but she is also a broken and pitiful being bullied by others.
Until the night when Marianne exposed her domestic violence, Cornell read the source of her every masochistic tendency and odd behavior. Cornell asked, we've known each other for so long, why don't you ever talk about it. Marianne said, I'm afraid if I say it, you'll think I'm crippled. In fact, from this moment on, the Marianne in Cornell's eyes is complete and more real.
So at the end of the story, we see that the two will be separated again for a short or long time. This time, Marianne seems to be the more free and easy party, not to promise, not to bind. The two will always wander in the flow of life. Even if they are separated, they are still connected internally. The best state of a lover is this.
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