The pain of bereavement, the bottleneck in art, and the disease of the body, all of which no longer indicate the slump of Eisenbach's life, and the beautiful young Daccio who was surprised at this time undoubtedly forms a sharp contrast with it, the latter is suitable for any movement or movement. The beauty of a man is the symbol of fresh life, which is enough to make any old-fashioned person feel ashamed. Aging itself becomes a matter of shame.
When Eisenbach tried to escape from the teenager who made him unable to control himself on the grounds of "not shame, but fear", he was actually both ashamed and fearful, but the shame was related to desire, he was cowardly to admit it, and fear was Fear of the shackles of moral categories. As one of the backbones of mainstream morality in society, he is afraid of his own emotions that are not permitted by secular and inner moral principles.
It is not appropriate to call this unrequited unrequited love in the film love. The word love in a broad sense will only narrow this kind of heartbeat. Eisenbach's involuntarily cannot help but be more in life. When it is empty, it coincides with a beautiful scene and can no longer move the "normal feeling" of people, but this "normal feeling" is imprisoned by gender and age, and is despised by morality. This is tantamount to putting a heavy load on Eisenbach's already disastrously defeated mental and physical body, making him even more breathless. He was frightened, anxious, angry, and at a loss. He tried to control the spread of this prairie-like emotion with rational thinking, so he could only resort to escape.
Maybe God heard the sad and helpless wish of this middle-aged man, and gave him a wrong reason to leave his luggage, so he could continue to stay, and stay in a place where he could continue to carefully look for the young man. The man had a smug smile on the corner of his mouth because he found a reason to stay. It was not the wretched expression of a middle-aged man coveting a beautiful boy, it was simple and pure. This smile is inexplicably sad because of its destined humble status in this unrequited love.
Eisenbach is a follower, and this following is not very clever. It was perceived by the young man very early, so that the latter smiled when he passed by, like an unintentional comfort, which made Eisenbach even more palpitated and unable to control himself.
Platonic love is always a metaphysical philosophy, love will have a desire to approach and embrace, and this desire can only be solved by that person. Even the beautiful girl who could also play "To Alice" had no impulsive desire, he could only hunched his back and searched for Dacchio more anxiously. He even fantasized about using the opportunity to persuade Dacchio's mother to take her children out of the plague-ridden Venice, and get closer to Dacchio, even if it was just stroking each other's blond hair and forehead.
I'm glad that Eisenbach couldn't go to the boy's side because of a heart attack at the end of the beach, because at this time he was wearing clumsy, pale makeup, the color of orange-red lipstick on his mouth, and black hair dye flowing out of his forehead. The liquid flow, this act of pretending to be young did not make him regain his vitality, but made the taste of sadness even more.
It is said that the way to keep good memories of love is to leave each other when they are most in love, so that such love can last forever. Leaving each other when their feelings are most complementary is undoubtedly the most cruel thing to both parties in love. Few people will really do this. But what about a crush? Even if the other party is just curious about your various following behaviors, even if it will not leave any traces in his remaining abundant vitality, don't put a humble, old and dilapidated body in front of the other party, this is the most cruel to memory. Destruction will eventually shatter the dignity of this middle-aged man. In the end, he took the funeral's face, full of yearning for love, and left with a smile. This sudden love made him miserable, but also enriched him.
The lens in the film is like a pair of eyes, which are sometimes Eisenbach's - leading the viewer to find Daccio in every corner, and sometimes an outsider - from the near to the far, from the far closer, calmly everything. Looking at the bottom of the eye, I saw the pain and sorrow of a middle-aged man who was deeply unrequited and unable to extricate himself.
Watching this movie is like browsing through still pictures. Talkers sitting around the table, the seascape in the distance, people playing on the beach, the rising sun where the sea meets the sky... When these pictures of static beauty are connected, the viewer has the ability to read the manual The joy, the dynamic is the story.
This is a movie that is suitable for both movement and stillness, just like the beautiful teenager in the film, everything is perceived, experienced and harvested by the camera and the slow passage of time.
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