Love can destroy the dead and subvert the world. Yes, the theory is true, but it is not easy to express it visually. If it is not good, it will become the tragic frankness of Ziwei Gege's "mountains have no edges, but dare to be with you" in Qiong Yao's drama. Think of how Lawrence described Mrs Chatterley's relentless determination in "Lady Chatterley's Lover". She was first attracted to the masculine body of the hunter Mellas, and then became one with him in the rain. The pleasure gushed like an overwhelming sea. Sexual union finally leads to emotional conversion. She must choose to deviate from the class of her origin and abandon everything in order to obtain the liberation of her soul. In the 1992 version of the British TV miniseries Lady Chatterley, sexual love and breakup are depicted through line drawing, with Lady Chatterley Connie seeing Mellors' topless for the first time. Subconsciously biting his fingers, the crooked scarves when running away in a hurry all depict sex, the powerful impact of this original ecological desire; but when depicting the first combination that should be thrilling, the visual tension has completely disappeared. Now, the overwhelming rush of Lawrence's text is completely absent, and even with the music that fuels it, the sexual pleasure cannot be conveyed, leaving only a tedious copulation scene, the actors' rigid body movements and confusion. facial expressions.
Italian director Luca Guadagnino's 2009 film Io sono l'amore (Io sono l'amore) can be understood as a modern version of Lady Chatterley's Lover, sexual The forces of attraction and love are finally perfectly integrated on the big screen, producing a powerful high pitch like an opera. Emma, the daughter-in-law of the Italian textile tycoon Richie family, played by British actress Tilda Swinton, is the most well-behaved housewife, with two sons and one daughter, each with her own success. Emma manages the housekeeping alone on weekdays and is the main feeder. She occasionally goes out to eat with her jeweled mother-in-law. She dresses meticulously and wears FENDI high-end ready-to-wear, and carries top Hermès bags. But such a high-class life without food and clothing is as boring as the square and angular modern mansion of Ricky's family. There is no passion between Emma and her husband Tancorid, and her personal existence, almost like her Russian name, can be completely ignored and forgotten if it hadn't been for the children's affairs to worry about.
What makes Emma alive is the cooking skills of chef Antonio, a friend of son Eduardo. The film's display of Emma's first taste of Antonio's Provence risotto and stuffed shrimp is full of sensory thrills! The camera switches back and forth between Emma's lips, the corners of her eyes, and the dishes. A medium shot adopts the lighting design of a stage play. A beam of overhead light hits Emma only from top to bottom, and all the people around her fade away. Into the darkness, the noisy conversation also faded away, and only the symphony like a heart palpitating slowly played. This process is almost the same as Lawrence's detailed description of the overwhelming impact of orgasms on the body in "Lady Chatterley's Lover"!
Of course, tasting food is just the prelude to real sex. Emma finally merged with Antonio in the firewood shed on the mountain. The camera also adopted the technique of splicing close-up fragments, white skin, red areola, golden hair, brown soil, blue sky, dark green thick Shade, as well as flowers and bees, they bombard the audience's sight and hearing in turn; they cooperate with the slowly climbing notes, stripping Emma's last class etiquette and social constraints layer by layer, allowing her to integrate into the earth and into the sky, Melt into the raindrops; they let her senses soar freely with her soul and let her fly! fly! ! fly! ! !
The liberation of sex is followed by the awakening of love. Emma changed out of her high-end ready-to-wear and only wore the simplest and roughest vest and cloth pants; she cut her hair, and in the face of the mountains and forests, she cooked a childhood-flavored Russian Uka fish soup for her lover. Interestingly, when Emma's daughter Elizabeth finally decided to pursue true love despite family pressure, she also cut her hair short. Here, hair not only represents the past, but also represents the fetters of the world and the heavy psychological burden. Washing away the splendor, cutting off long hair, and putting on trousers is not only a change in external posture, but also a silent declaration of female liberation, a starting point for freedom.
At the same time as the awakening of Emma's love comes the roar of the times. Ricky's family business must make a choice under the impact of globalization, and must abandon its traditions and accept foreign financing in order to continue to occupy a place on the international stage. As one of the heirs of the family, Eduardo, despite his fierce opposition to mergers and acquisitions, was helpless in the face of enormous commercial pressure. The film's handling of Eduardo surprises me a bit, but maybe without the ideal death, there would be no Emma's final awakening, the relentless rush that accompanies the climax of the opera, toward a truest self. .
Ultimately, sex frees love, and love finally frees the human soul. Love is a cry of freedom, and its ultimate purpose is never to make anyone a vassal, a bargaining chip of class, or a vase of silence. It is both the release of the voice of the heart and the sublimation of the senses. It's powerful, it pushes people to open their eyes, to open their hearts, to rush forward, rush forward. It allows us to re-perceive the world, re-experience freedom, and finally recognize the original self that is hidden in the depths of our memory.
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