I have seen five films of Kim Ki-duk so far, and one of the things I like the most about his style is that he never utters a word of nonsense. Especially in "Breathing", considering that the hero Zhang Zhen can't speak Korean, he simply didn't let him say a word, which just appropriately showed the gloomy personality of the hero, and the explosion made people feel relieved and refreshed. In the environment of very little verbal communication, the love scenes in Kim Ki-duk's films have also become extremely beautiful-breathing, moaning, sweating, and burning, which is really disturbing.
To say that I watched "The Bow" without hesitation under such expectations would be an underestimate of Kim Ki-duk's charm. Until now, when I recall the process of the film gradually progressing to the climax, I still can't help but curse in my heart: this guy Kim Ki-duk. . . Really. . What the hell. . . For me, the films he wrote and directed are hard to distract people, not to mention how many metaphors are hidden in the story until you find out, just the strange plot of the story is enough to entice people's souls. So every time I watch the movie, I want to dig out his brain and eat it, hehe.
Closer to home. The old man should have lived at sea all his life. In the wandering and swaying life of the sea, adopting and nurturing young girls for more than ten years is the only solid existence in his heart. The old man waited for the girl to grow up and married her when she was seventeen.
She lives with the elderly at the age of six, and the girl trusts and relies on the elderly the most. At first, the old man was an image of his father, but after all, he was the man who had the most profound influence on the girl's mental growth experience. The boundaries of this kind of father gradually blurred, and after the girl grew up, it blended with the image of her lover. The girl does not reject the old man, she accepts everything from the old man. It's just that when a boy from the outside appears, it brings a novel attraction to the girl, and this attraction comes from the "outside world" to a greater extent than the man himself.
The old man is vigilant, he is nervous that he cannot control the growing girl, afraid that his destination will disappear. When the girl decided to leave with the boy, he realized that he had lost his psychological support and had to commit suicide. And when he was about to die, he reached out and touched the knife and cut the rope. I think it had something to do with his last fortune-telling - the calculated answer should be - the girl will leave with the boy, but she will also be happy with the old man.
The words "Strength and a beautiful sound like in the tautness of a bow. I want to live like this until the day I die" at the end of the film are the words of the old man. The string music that runs through the whole film, melodious and persevering, is the sound generator of the old man. And the bow opened in his hand is his weapon and himself. After the traditional wedding ceremony with the girl, the old man sat on the bow of the boat and played the harp, as if he was whispering to his beloved new wife, and the girl fell asleep peacefully; the arrow that the old man aimed at the girl and shot into the sky was the one he had always harbored. expectations. Then the old man jumped into the ocean, silently, leaving only the ripples on the water surface, which moved me and sighed for a while.
However, I soon realized that my skills were not enough. When the girl turned over and exposed her legs, I had long forgotten the long-winded thing to keep my voice down. And while I was still amazed at the girl's sudden self-pleasure, the arrow that shot into the air pierced the boat between the girl's crotch with extraordinary force—the girl climaxed at the same time. I should have expected that, with the inner strength of an old man's bow, the arrows shot would fail before hitting the target. When it was all over, the girl turned red. The old man and the young girl finally completed the handover of fate through the intercourse of soul and body. The old man completely became the first man in the girl's life.
The girl smiled and left with the boy, and the old ship was still slowly following. The girl beckoned, and the old ship sank slowly, as silently as an old man. At this time, I feel that, in contrast, the image of the elderly as the father of the young girl has more elements. Because such a scene will make people unconsciously think of the old father reluctantly sending his married daughter away from his hometown, and his mission, or obligation, has also come to an end at this time.
Although this kind of feeling always has the perversion of losing ethics, it is also the only choice in an environment that is free from the restrictions of secular morality. In this environment, everything is vague, love is not concealed, laughter is good, staring is bad, everything is simple.
When the old man and the girl took a bath, the water vapor in the tub, the force of the old man's fingers when he stretched the bow, the body temperature when the old man grasped the little girl's hand, the sweat on the sideburns of the girl when she was feeling sexual, and the countless speed and strength of the countless animals. The burning arrows form the mutual feelings between the old and the young. Even in the cold winter, on the uninhabited ocean, there is still a fiery passion. Even if the girl leaves, the ceremony has been completed, and a stage of reincarnation will begin again.
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[The second exchange operation with Shen Jinbao and Shenjing Pump]
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