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She went to church with him, he married her, he lived with her, but the marriage was destined to be a deformed product: they never slept in the same bed, and the inconvenience of living apart It's just estrangement, and his fear of old age. He sat on the ground in frustration, but she said with a smile on the snowy day: "We stay here warmly, what more can you ask for?" They are no longer the one who takes care of each other. Yes, when he was sick and couldn't get up, she picked up the call to the doctor but secretly put it off. After delaying the best time for rescue, he passed away, and she returned to a free but lonely life.
This is the last tragedy of Rope and Tristana: he is afraid of old age and finally killed by disease, she has won her freedom but is haunted by nightmares: Rope's head hangs on the wall, blood drips down, face It became hideous and blurry - when Tristana opened the window after Rope's death, and there was heavy snow outside, she had to close the window again, in the dark room, it was no longer Rope in the nightmare Wearing the head of a man, and the faces of those men who had appeared in front of her, they were the down-and-out painter Osho she once loved, and she was looking down at the dumb Chaturno who turned her body towards him, and one was penniless. The poverty that came, the unspeakable silence, together with Rope, who died of old age, formed a group of men in the distorted world, and when Tristana saw them in the dark room, in the nightmare of terror, In fact, she also pushed herself into a deformed world that she could not get out of - her leg that was amputated due to cancer was the symbol of the deformed world.
However, whether it is falling in love with Osho, marrying Rope, or even opening her heart to face Chaturneau in a naked way, Tristana is the initiative, and it is her own choice. This is a kind of free? Opening the window and closing the bed, just like her freedom, is only a temporary escape from the bondage, but she has to face her sinking self, and in the face of the reality without redemption, Tristana is left with only a broken one. Flesh, she has become a hypocritical person, and even became the last hidden murderer, and the culprit of all this is the distorted love in that distorted society.
The story at the beginning of a funeral is a prelude to death, corresponding to the death of Rope at the end, death becomes a closed existence, and Tristana is in this closed system that cannot escape. Dressed in black veil, Tristana heard the servant Saturna say to her when she was doing her filial piety: "Beware of Rope, he will turn women into demons." When the death of her mother became the prelude to Rope's demonic desires, this This is the beginning of the distortion - what is the relationship between Rope and Tristana? "I am your father and your husband." This is Rope's definition of his identity in front of Tristana, "He is not my guardian, but my husband." This is Tristana's encounter with The relationship that was said when he arrived at Osho. It is the father who is the guardian and the husband who loves her and occupies her. The two identities must be a deformed existence: Is his so-called love for her love or love? Is her so-called love for him a repayment or a helplessness?
She was Rope's adopted daughter, so he naturally became her father. After Tristana's mother died, he took the blame for taking care of her. He provided her with a place to live. She gave her life care. When she was sad when her mother died, he would comfort her, when she had nightmares and fear, he would comfort her, it was a father's love for her, and Tristana felt it too when she lost her mother. Father love, "I love him like I love my father." Tristana also sincerely expressed her gratitude. But this kind of father's love is dangerous. On the one hand, father's love itself points to power. When he comes back, she will change his slippers. She can only go out with his permission. No, he will buy her new clothes only after the mourning period is over. Being a father means having a responsibility, but at the same time, this responsibility can easily become the power to control her. As a former nobleman, even if he is now down, Rope has a strong possessiveness, and this possessiveness is more Patriarchy is more of a desire for power. When the police caught the thief, he deliberately pointed the wrong direction to escape. He said to Tristana: "We have to protect the weak, the police are the power." He didn't really want to protect the weak, because he had become a Weak; he said: "Money is dirty, I hate business society, business people are vampires." It's not that he hates money, it's because he lost it; he said: "Love and sex, all of this is actually useless Sin, of course, there are other rules for sex, and I don't want to rob a friend's wife or take away the virginity of an innocent virgin." He claimed to give Tristana freedom and happiness, but this freedom and happiness Just be content with your own freedom and happiness.
This is the father in front of Tristana, the existence of the father makes the control over her rational, and this rationality makes him have another identity without any scruples: husband. "Love and women are not sinful." So he shut Tristana in the house on the grounds that "pure and noble women should stay at home." And that trip to visit the statue was also Rope's idea, when he When facing Tristana, he became a husband, and he asked Tristana to ask her, "Give me a kiss." The kiss after he just said "Love is freedom", for For Tristana, the meaning of the kiss seems to be still in his identity system as a father, so Tristana kissed him without scruples, and this kiss started his power as a husband, He kissed her unscrupulously at home, and received love in the name of his father. This kind of love undoubtedly gradually became ambiguous, and Tristana also felt this subtle change, "I hope he loves me less. A little.” And what he emphasized was still the father’s love. In such a dislocation, Tristana felt scared, but could not break the pattern. She once said to Saturn: “He lost his feathers, he Dress up brazenly." The slippers she once put on for him were finally ruthlessly thrown away by her, this is a kind of self-liberation appeal, and when he went out to meet Ou Xiu, he made love happen by admitting his "frivolity". In a sense, I also want to leave this ambiguous love.
Father and husband, love of love and love of desire, mixed together, for Rope, his identity became a "cheeky" existence, and for Tristana, it was In the confusion, it slowly moved towards deformity. She went out, parted ways with Saturn on purpose, and took the initiative to break into the place where Osho was painting, approaching him in a frivolous way, and finally she had a love that could rival Rope's love - not so much Triss Tana was looking for love of her own, rather she was more eager to escape the murky reality. So Ou Xiu was just a shelter for her, so she said that she wanted to be free and wanted to work, so they would escape by eloping, and so, when she was ill and had no money for treatment, she returned to Luo again. By Pei's side, he once again wanted that father's love that could be separated.
Elopement with Ou Xiu for two years, if it was true love, why didn't they get married? Her refusal was because she couldn't find what she wanted in the poor Osho, including the being named love, so the illness brought her back, "I want to die at home." This is Tristana An excuse to come back and have to deal with the double but chaotic love of a father and a husband, but Tristana doesn't care about that, she cares about life, or, when one of her legs has to be amputated, she It has also become a deformed existence. With the complete disappearance of Ou Xiu, she is suffering in the deformed world that she has to choose. But for Tristana, the only thing that can be dissolved is the power brought by the body: Rope used power to control her, but now she controls Rope in another way: he paid to help her For treatment, she arranged a piano for her, and he agreed to let the priest come to the house, and even no longer forbid her to go to church.
She really only had a body left, and this body was a deformed body. When she opened her clothes so loosely and exposed her body so shamelessly, she was facing Chatunau downstairs, a man who had never spoken. The dumbness, the startled look, the step back, the movement of escape, is a silent puzzlement, fear, as if shouting: "No!" But Chaturneau's crippled ability is only physical. , while Tristana's aberrations are soulful, she has never been ashamed, and her smile is an affirmation of her own depravity - and in Chaturnau's dread and Tristana's smile, A statue of a saint in a church completely deconstructs faith, deconstructs love, even deconstructs sex, and deconstructs dignity. After this self-degeneration began, Tristana and Rope married Rope, which also deconstructed Rope's dual identity as a father and husband. In the single world restored to her husband, the final "murder" became natural and natural. Cruel: Proposing the separation is a kind of joke about Rope's reasonable identity. In the nightmare, Rope's head is dangling there, which is revenge against the father. When the naked companion fell ill and needed a doctor's first aid, she picked it up in a hurry. The phone was put on hold again, and the fake call was deliberately created, which completely turned into a deprivation of Rope's life.
"Only the dead don't have nightmares." This was Rope's comfort to Tristana after she endured the loss of her mother, and this comfort became when Tristana faced Rope. The nightmare, when this society becomes a deformed society, the father in front of him becomes a deformed father, love becomes a deformed love, and the body becomes a deformed body, no one can escape the nightmare, no one can escape death, and Triss The distortions and nightmares Tana created with her flesh became sins she could never get rid of, "She lost her feathers, she dressed up brazenly.
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