But "Marlene" is an exception, a film that is astonishingly successful because of the nature of the viewing, the growth of a child, with eyes and a budding sexuality. So under the innocent gaze of the child, Monica Bellucci became a goddess - the birth of the goddess is the credit of the eyes, and at the end, the fall of the goddess from the throne is also due to the distraction of eyes - gorgeous The gaze is just a metaphor for the inner bones of the film. Isn't film the art that teaches us how to see? And "how to see" expands to how to feel, how to recognize and even how to restructure our experience with words - this seems to be the eternal problem faced by art, and this film provides a form of achievement.
And what I'm talking about now is "The Secret Woman's Heart". Compared with the beauty of Sicily, the protagonist is a woman who has been insulted and damaged more seriously. A third-rate prostitute, used by human traffickers for prostitution and procreation, after enduring this inhumane life for more than a decade, she decided to run away. She madly misses her last child, and she desperately sets out to find it. At the beginning of the film, a woman with a gloomy face tried her best to enter a family of three as a nanny, even killing people for it, and she thought that the girl and son of that family was her angel. So in this film, the protagonist is no longer the object of staring, but appears as an active striker who changes his destiny. She also lives in two worlds at the same time, one is the present that is walking on thin ice, and the other is the past haunted by nightmares. Only by overcoming such hardships can she step into the new life. The film then presents the present and the past together: her adventures in the family of three and her gradual winning of the girl's trust, while the dark and terrifying past keeps recurring in flashbacks.
Such combination and cutting methods have created more than one suspense and thrill in the film. However, these little tricks are too frivolous compared to the heaviness of the subject matter. Instead, the tragic encounter of the protagonist was swept away by the light of the water-the film is written in the first person. The plot moves forward with the protagonist's behavior and psychological activities, but although the protagonist has the power to act, he does not have the ability to reflect on suffering. As for the other characters in the film, there are shadows and props with blurred faces, and there is absolutely no possibility for them to undertake reflection. It was originally a thrilling story, but the director turned it into a mediocre story and turned it into a stage for dazzling skills. And this "skill" is all handed over to the protagonist's own feelings to achieve, and it is inevitable that there will be a leak. Here, the gaze is unchecked, only the self-propagating madness that leads to the fundamental lack of the film.
It's a pity that this movie had all the elements that make a movie a movie: suspense, violence, sex, murder, love, maternal love, humanity, sin, confession... But the director's superb skills just cut these elements into beautiful boxes, When the audience was full of expectations that there were rare treasures in the wing box, they were disappointed to find that there was nothing in it. Because, Tona Torre's film is really a game of repayment.
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