American romance films are basically illogical, such as "Roman Trevi Fountain" some time ago. The heroine in that film is roughly similar to the situation of AA here, but that film completely romanticized everything after the affair, so after watching it, I only felt that the halfway escape was completely on a whim. But here AA is different. Her halfway escape is extremely make sense, even if there are ten minutes left in the end of the movie, the whole plot did not rush to a nonsensical romantic comedy.
I believe that when AA agreed to J's marriage proposal, he was not thinking about how much he loved J at all, but was occupied by the newly rented mansion. This makes sense. As a city girl who has never left Boston, AA yearns for what she is about to get. In other words, J's marriage proposal is nothing but an add-on to the mansion. For a woman like AA who has a successful career, in fact, to this extent, the man who married her is just a "partner" of marriage + house deed. So since there is nothing wrong with this ready-made "partner", and I don't hate others, what's more, after the partnership, I can not only have a dream mansion + friends envy + even better career development, but also for a career woman like AA. Why not do it? So AA chased her boyfriend all the way to Ireland, it might be better to say that she may have been really lost in love from the beginning, and in the end her proposal was just an excuse for a mansion. So at this time, a "natural person" like D is needed to wake up this "city person". So when J finally proposed to AA, AA wasn't sad to see D leave. Because most of her mind is the house she got.
This makes sense. You can't expect a girl who's lived in a big city for the first half of her life to change her habits just because you've climbed a wild mountain and drove all the way with some quarrels and jokes. The sense of success she wants from the city. And all her flirting with you along the way is nothing but a vent for being oppressed by the city to the point of being suffocated to death.
So when I saw that AA accepted J's proposal, I thought that was the logical ending, at least temporarily.
Then J disclosed the plot of the real proposal to AA, and it was logical. In fact, AA and J do not love each other, nor do they love each other to death. Two rational people decide to get more benefits through marriage. But the Irish dude accidentally made AA romantic. AA decides for the first time that one should live for love. So AA broke the contract. So AA logically went back to find the Irish handsome guy to find true love.
Of course, by the way, you still have to have the money to fly around.
After AA finds D, the relationship with D should be considered mature and rational. This is no longer a city girl who chooses to indulge, this is her decision after a psychological transformation.
Also, we are glad to see that D didn't get back with his cheating girlfriend. Otherwise, it would not be in line with AA's various beautiful fantasies for D-type men.
There are two kinds of marriages: one is contractual contrast, the other is consecrated conventional. In fact, it doesn't matter what everyone wants. It's just that from a certain psychological point of view, the latter is a little more mature than the former. AA grew up with D's help, and that's one of the positive things about this film.
Overall, the last twenty minutes of the movie are handled very well. See for yourself, no rush at all. It makes you feel that this is how normal people should react when faced with multiple choices.
Also, how can a suitcase make people cute from start to finish? . .
Btw, this film also taught us that two partners are the best, and three partners are in big trouble.
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