A few impressive scenes/paragraphs: 1. Panorama, Sarah weaves a hurt past, Charles sits behind her in a crouched position, so you can't see Sarah's almost self-appreciative expression. The camera moves around Sarah, like an open net, and finally brings Charles into the frame, implying that despite her efforts to resist, she can't help but fall into the trap of love. 2. Sarah runs away, and Charles is forced to sign a series of humiliating documents in exchange for breaking his marriage contract with Ernestina. In a cross-cut, Anna, who plays Sarah, tries on a new dress for a party organized by Mike, who plays Charles. The irony is that one side is looking for and the other is rushing, but it is in a dislocated time and space. Finally, I would like to say that although Mr. Fowles thinks that the film is inferior to the original, I think that, from the perspective of reflexivity, by setting up a second line, the film may have achieved transcendence to some extent: the modern background of filming The addition of the film retains the reflexivity of the narrative medium in the original work; thematically, the Victorian Sarah and Charles' efforts to "search for human freedom" are of course reflexive to feudal civilization and even bourgeois modern civilization - however, the film is based on In the modern context, there is no doubt that Anna and Mike, who are fully free, are used as the control group. The double misidentification of the two means that this love actually happened between two "strangers", and its tragic ending further realizes the "freedom" reflexive.
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