Marcello Rubini. He is a fluid and present image. In Rome, in gold leaf, in a materialistic and declining society; he also fell into it, indulgent, short-lived, middle-class melancholy, seemingly degenerate. He said he was either a reporter, or a writer, or neither, or just tired. He is gentle, he is easily seduced—women, fame; but he is not seduced by life. An outsider, he is always an outsider in his own life; he examines, silently examines life, and sometimes becomes its victim, always looking for unattainable happiness. He seems to have been living in contradictions, between lovers and lovers, between family and freedom, between reality and reality.
When the audience sees him, some pity him, some love him, some condemn him, and some have become him. The worship of money, excessive drinking, excessive drug use, hypocrisy and moral corruption; this is a landscape full of intoxicated gold fans, a landscape that carries a vast emptiness, a landscape that devours one's intrinsic value. In such a situation, one can best appreciate the alienation of man from the world, the extreme loneliness that is easily torn apart under the Honghao universe, and the personal nothingness that is completely separated from meaning, value and belief—a nihilism that destroys the will to survive. In the modern context, the spiritual emptiness caused by the pursuit of material infinity is also an increasingly amplified part of the modernization process. The concept of consumption in contemporary society and the control of the bourgeois landscape make the concept of the individual extremely marginalized. "Sweet Life" excavated a lot of contemporary social problems, and in 1960, it was truly a pioneer.
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