Long Zhuoting
first watched "A Heart of Winter", and I was just intoxicated and fascinated by the elegant and beautiful music in it. There is always such a moment in life: a strange melody, a strange place, a strange picture, a strange sound, but it makes you feel familiar and drags you into the abyss of memory.
The Hong Kong film industry translated "A Winter's Heart" into "The Love of This Life is Ending", and a paragraph appeared in the poster: "When one is awake, the other does not love; when one is in love, the other does not. "What?" The words "ghost love", "circus love" and "summer love" are always used to describe things that have a more or less tragic ending. And the time difference in the poster to explain the dislocation between Stephen and Camille completely destroys the film's mysterious feeling like a rift. How can this film, which is mournful and subtle, and immersed in Ravel's elegant and beautiful melody from beginning to end, be summed up in three words "love is over"?
Stephen and Maxim, who work in the same violin workshop, are perfect working partners. Stephen is in charge of making and repairing the violin, while Maxim is responsible for communicating and dealing with customers. Camille is Maxim's lover and a violin player. There was something wrong with Camille's violin, the g-string was a little dark, and Maxim asked Stephen to tune Camille's violin. Camille came into contact with Stephen and was successful in violin recordings. As a result, Camille fell in love with Stephen, and asked to complete the act of love with Stephen. There is a break in the film: Stephen rejects her. Camille was angry, sad, and lonely. After living in the house for three days, she found Stephen in a cafe, grabbed Stephen's genitals with her hands, and vented desperately. Maxim hit Stephen hard. Stephen left Maxim's workshop and opened a violin workshop by himself. Life is once again on track: Camille is on a European tour, Maxim still runs his workshop, the two of them are still together. Only Stephen and Maxim's shared teacher, who couldn't stand the trivial daily life of a stroke, asked to be euthanized. In the end, Stephen injected the teacher with euthanasia drugs, and the teacher died peacefully. It's for "A Winter's Heart".
In "A French Woman" written by Chen Jiaqi, the actor of Camille, Aynumabea, is mentioned, and she believes that through symbolic body movements and expressions, she embodies the abstract spirit of France "freedom, equality, and fraternity" and concretizes it. The "elegance, romance, and passion" of "elegance, romance, and passion" are isomorphically overlapped into "perceivable beings". [1]
Camille's beauty, nobility, and elegance are enough to impress every man. Her elegant and beautiful violin sounds are also full of unrestrained enthusiasm: plucking strings, drawing bows, spreading her arms lightly, and her beautiful blonde hair follows the melody. The ups and downs swayed back and forth, and the beautiful melody poured out, so much so that Stephen looked at Maxim in the opening scene and said, "A man who is moved by beauty."
Once a woman has beauty, it is easy to be watched by a man's eyes Become the embodiment of man's love and beauty. But Camille is different. She has her own independent inner world and way of expression. Her violin is passionate and beautiful, and her inner world is also ignited with fire-like enthusiasm. And a woman, only with this kind of independence, "can have a mutual answer and fusion with another spiritual world and expression." [2]
Camille is a violin player, what she is looking for is a timbre expression, Trying to interpret the ultimate in music in the dazzling performance of this tone. Corresponding to her is Stephen, who is a violin repairer, and he is more about guarding and seeking intonation. At first, there was something wrong with Camille's violin, the g-string was rough. Camille followed Maxim to the workshop and asked Stephen to help repair it. In the latter scene, Stephen adjusts the strings in dim light. And so, Camille finally got her long-lost and regained voice. In the last recording, Camille played the violin attentively, and the violin was playing in the colorful part of the player's sound, as if concealing and revealing passion. Camille also finally understood who brought her into the difficult-to-play tone, which made her feel infeasible. A mysterious feeling makes everything beautiful, and she enters a world of unexpected sounds. This feeling gave her a desire for sex.
Camille is also such a woman: once she falls in love, her love has the enthusiasm to burn herself, and she uses her love to condense the entire living space. Stephen is Camille's guide and motivator, Camille and Stephen's tacit understanding plays a gorgeous tone, and the tacit understanding becomes the bond connecting their love. Camille fell in love with Stephen, with great passion and passion. It's just that, under the stubbornness of civilization, this secularized society has turned women into "sinking reality"[3]. Isn't it the law of "love" in this rational world to speak out so bluntly? Camille bluntly stated her wishes and desires to Stephen, isn't it just a blurry and crazy spin in this rational and secular world? Besides, between them, there is another Maxim.
How many people in this world can really refuse "the temptation of true love"? But what is true love? Is it muttering "I love you" in the midst of erotic passion? Is it the constant search for different objects of passion in the changing sensations? Under the rigidity of rationality, desire is exposed, "love" is generalized, and a woman's sinking and falling make her lose her original nature and simplicity. "Woman, you were originally like a trap, like an abyss, like a swamp-like space filled with the infinity of evil."[4] After the enlightenment, "everything is revealed to the world", like pure darkness, pure light Can't see anything either. The dazzlingness of the rational world, how to find its "valley of shadows"?
Women, on the other hand, were originally a force of nihilism, just like Nietzsche's resistance to the nihilism of all rationality. Women are a force of "shadow" in the dazzling. Only the truly sensitive, who are sensitive to the specificity and naturalness of women[6], try to return to the simplicity of breaking out of the ground, so the induration of the male world becomes a chain that cannot be broken free.
Camille asks to have sex with Stephen, and Stephen says, Camille, I don't think I can give you what you want. I am not that person. I do not love you.
The film is interrupted and everything has to feel again. Why would Stephen reject Camille? Why didn't he complete the act of love with Camille?
Stephen has "a heart of winter", he does not admit his friendship with Maxim, and continues to close his life world by rejecting Camille. When he and Maxim's shared teacher collapsed due to a stroke, only he could perform euthanasia for the teacher. Did he really feel no love for Camille? Is his indifference and his rejection really just because he has a "winter heart"?
Some were having dinner at the teacher's country house, eating and talking. One of them talked about putting popular films and Claudel plays together, it was a mess. Camille said that art does not deny anyone, it is not the privilege of some people, it sometimes changes people's lives. The popularization of art is precisely the result of enlightenment. Whether it is a peasant or an artist, they can also pick up a musical instrument and play music. The question is, if all the peasants become artists, shouldn’t the farmland be abandoned?
Camille is actually a post-modern woman, with post-modern ideas and a sense of unprovoked modernity. Isn't she outspoken about her desires, what many feminists are calling for now? Feminism expresses its own desires, and opposes, resists, and challenges men in this way. Not only has it failed to find its own uniqueness, but it is precisely under the false premise of smoothing out the differences between men and women, repeating the mistakes of the male world. Repeatedly walks the same path as men under the rules of the rational world. And women are transformed after all, and it is the rational world established by men that transformed women.
The problem is that this male world not only turns women into "women," they themselves also live within the framework of the socialized language of technological rationality. As a senior sister said in her article, what hides or turns away in this rational world is not only the real existence of women? And the existence of men is real. [7] So, where is the truth of love? Stephen rejected Camille, on the one hand, he was afraid that Camille's enthusiasm would dissolve his winter-like heart, and on the other hand, he did not trust this feeling of "modernity".
I have always believed that Stephen also loved Camille, but he was afraid that the freewheeling passion would destroy the good feeling in his heart, the mystery of the love in his heart would disappear, and in the end, nothing would be left. Like a beautiful vase, once broken, it cannot be restored to its original integrity. This feeling is also present in "The Stagecoach of the Night", where Andersen rejected Gujoli's love because he was afraid that once he accepted her love, his fairy tale would disappear. [8] This is a kind of forbearance, and forbearance can only maintain the mysterious and beautiful feeling in the heart. Thus, there is such a surprising break in the film.
At the end of the film, Stephen is sitting in a cafe. Camille left the cafe with Maxim, and the car started slowly. Suddenly, Camille looked back...
Camille's later calm was not because of the cooling of passion or the indifference of emotion, but because she finally understood Stephen's forbearance and understood why Stephen refused to complete the act of love with her. This is the tacit understanding between them, tacit understanding and forbearance are related. Didn't you see her awakened look back when the car drove out of the camera at the end of the film? Looking back means seeing, listening, understanding, nostalgia, yearning or keeping. As Professor Zhang Zhiyang said, "Camille's intelligence lies not in her being able to express the inexpressible, but in her abiding by the inexpressible."[9] The greatest tacit understanding between Camille and Stephen is neither It is because she can play the gorgeous tone after Stephen's tuning, and because she can understand and abide by Stephen's "forbearance".
I'm trying to find out "what love is" or "what kind of feeling is the reality of love based on". But I found out how complicated the problem is. In Plato's "Symposium", Plato used Aristophanes to tell the secret between man and woman: at first, man and woman were one body, the whole person was round, and the back and the back were round. The two sides are circled and formed into a ball, and when walking, the legs are rolled into a ball and rolled forward. Because Zeus couldn't stand man's arrogance, he cut man in half. [10] Therefore, the desire to find the other half in order to achieve unity has become the most basic complex of human beings. The question is, whether or not to find the other half, and how to unite after finding it, has become an eternal problem.
And Stephen's forbearance, Camille and Stephen's tacit understanding of "keeping the inexpressible expression"[11] in the separation and union, and Camille's wake-up look back at the end, does this provide another kind of love for this world? true?
References:
[1] Quoted from Chen Jiaqi's "A French Woman", selected from "Thinking in the Days Abroad", Hunan Literature and Art Publishing House, p. 74.
[2] Quoted from Mengmeng's "Women are the Secrets of Men's Hearts", from "Mengmeng Collections", Shanghai Translation Publishing House, 2007, p. 9.
[3] The original text is "Women are a kind of nihilistic power. The nihilistic power is the dissolution of the induration of men's civilization and rationality, but the generalization of love makes women a sinking reality." Exposed Secrets"
[4] Quoted from Mengmeng's "Fractured Voice", Shanghai People's Publishing House, 1996, p. 15.
[5] Quoted from Mengmeng's Collection of Mengmeng's Works, Shanghai Translation Publishing House, p. 7.
[6] Shen Mengmeng "Women are meaningless, in the sense that women are the mysteries of the wild nature that fend for itself." Quoted from Mengmeng "What is a woman, what can be" "Mengmeng Collection" "Personal truth Sexuality is the specificity of the difference principle itself." Quoted from "Mengmeng Collection" Shanghai Translation Publishing House
[7] Quoted from Zhang Fangning's master's thesis "Dazzling and Expectation", Hainan University Dissertation Database.
[8] See "The Stagecoach at Night", from "Golden Rose", Shanghai Translation Publishing House, pp. 184-198.
[9] Zhang Zhiyang, "Aria on the e String", from "Right to Absence", Shanghai People's Publishing House, 1996, p. 42.
[10] See "Plato's", translated by Liu Xiaofeng, Huaxia Publishing House, pp. 48-49.
[11] Zhang Zhiyang, "Aria on the E String", from "Right to Absence", Shanghai People's Publishing House, 1996, p. 42.
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