There are two toilet shots in the movie. The first one is the vast and barren land not long after the movie started. The heroine solves the problem in the open space beside the road. Her partner, an old van, is parked in the middle of the road; the whole place is silent and desolate, literally in the middle of nowhere. The second is that she was temporarily stationed in the desert. In the car, all the movements were clearly audible, so real that it was so outrageous that there was a barrage saying "it stinks".
I hope you who haven't watched the movie don't be frightened. In fact, under the barren and rough surface, this is a romantic movie, gentle and healing, positive, and full of poetry, except for a few "indecent" scenes that will only arouse the disgust of very clean audiences, Not even swear words, properly rated PG.
Road culture is an important cultural gene in the United States, from "The Grapes of Wrath" to "On the Road" -- cars, roads, distance and exploration are the enduring literary themes that were born in the New World of the United States. The pioneers' tenacity and dedication to their homes on the one hand, and their longing and pursuit of nature on the other hand, can be traced back to before the advent of automobiles. The ingenuity of this film is that the protagonist is no longer a restless young man, but an elderly person over 60 years old, so there is no hippie temperament of many literary films with the same theme, no marijuana, no bed scenes, and even swear words. owe each. Correspondingly, the theme is no longer collision, search and exploration, but reconciliation, tranquility and attachment in the last journey of life.
The heroine's performance -- from her dress and demeanor to her temperament and language -- is in harmony with everything the film has to say. In such a slow-paced movie, there is no pee point in the whole process, and the heroine can be said to be a great contributor. She is beautiful in almost everything except that she is not beautiful. Her eyes are clear and soft, she talks to her children about Shakespeare, and teaches young people to write love poems: "Can I compare you to a summer day?"; Hard-working and practical: "I like to work"; Enthusiastic, friendly and optimistic, and make a face mask in the desert with her girlfriend , take friends to see a doctor, and prepare chicken soup for friends intimately. She walked into the depths of the Gobi alone, with light in her eyes and light footsteps. The girlish feeling reflected in the depths of her spirit could not be replaced by expensive surgery and skin care products. "Everyone loves you," her sister said. Everyone invited her to stay, everyone was attracted to her, family, friends, family of friends. Wandering is her choice, not her destiny, so she is only "houseless", not "homeless".
Another great thing is music. It's so good, it's like a scenery music film, the vast land, the ocean, the clear stream, the lake, the dark green forest -- the vastness and magic of nature, complement the background music, and sometimes even the lines are superfluous.
The closing speech is, "dedicated to those who had to depart". The audience followed the heroine and said goodbye to one person after another. Some people went elsewhere, and some people went to another world. The old lady with terminal cancer has a long monologue, which is a love song of life. This clip is so beautiful. The old lady has a serene expression, and her voice is like the wind chimes of an ancient temple, telling all the joyful moments in life. It is inevitable to see this passage of tears, but it is estimated that it is a bit sociopath without tears.
The heroine's lover, David, also left, but it was a homeless life. The love story between them is handled very low-key, without any intimate scenes, not even any intimacy words, the whole process is platonic. David persuaded her to stay, the two chatted in the child's bedroom, the man was holding the baby, the woman was folding clothes, and the baby's small scarf and small blanket were folded -- a picture of a family where the years are quiet, meaningful and peaceful. David is also a person with stories, everyone has their own stories, and everyone is willing to share their stories with the heroine. He said that when he was young, he was too busy with work and spent too little time with his son, so the relationship between father and son was indifferent and distant. The night before the heroine left his house, he sat on the stairs and watched David and his son play the piano. The two of them played a piece of music with four hands, which was very harmonious and beautiful.
David’s story reminds me of a Carver novel: Father visits his son in Europe; father and son have not seen each other for more than ten years, and the last time they met was before the divorce of father and mother, in a violent and disturbed family. After all, the father did not get off the train and did not see his son; time softened the resentment, but did not bring reconciliation. "Nowhere" is a textbook-style Hollywood award-winning hit. The production is rigorous and serious, the story is life-like and personal, the performance is god-level, and the most important thing is the theme of melancholy but not depression. This movie also reminds me of the hot search of middle-aged and elderly women in China last year, Su Min who ran away and Ms. Huang who was deceived by fake Jin Dong. There are also road movies in China, but they don't seem to be outstanding. Maybe it's the incompatibility between road movies and Chinese cultural genes, or maybe the screenwriter's imagination hasn't caught up with the pace of life. The reality is often better than the script, as if "Nowhere" is a wonderful movie about life, while the Carver novel is life itself. Su Min and Ms. Huang deserve to be heroines, and their stories should be more honest and magnanimous than "Nowhere", just like the life and life of every ordinary person.
View more about Nomadland reviews
