As sinister as all of the above is, I have no intention of interpreting Adele's Life as a political film throughout. After all, the really moving thing in the film is the love between Adele and Emma. Adele's complexity makes her credible; she's credible enough to engage audiences who would otherwise be outside the event, real enough to become Adele herself, following her vision, following her Feel her every thought and emotion, feel her loss and happiness, her pain and happiness. When we stare at the big, tearful face on the screen, we don't think it's ugly, but we think it's pure, we don't think she did something wrong, but we think her loneliness is very much like each of us. , like every person in love who wants to fill their life with another relationship or even get revenge on each other, of course, the end of doing so is tragic in the end. The direct cause of the tragedy is of course Adele's betrayal of Emma, but in the final analysis, the two have never had a common language in life. Whether it is food, clothing, housing, or spirituality, the two are actually strangers. However, Emma and Thomas are different in nature. The former has an uninhibited and mysterious artistic temperament even on the tips of her hair. Even if they don't have common life and habits, she and Adele can still maintain this love in other ways. The latter is a science nerd, doesn't understand art, has no sense of humor, and hasn't read books. Obviously, it can't meet Adele's psychological expectations, not to mention the lack of "heartbeat" and "love at first sight". When I tried to figure out why Adele and Emma were separated in the end, I found that I instinctively resisted this analysis, because it was incompatible with Cauchy's own intentions and with the image itself. . In the end, I would rather claim, in a mystical way, that love is what it is, that it is love itself. All of this is out of human instinct, and nothing can stop it, "even if the flood is overwhelming."
This is my truth. However, I also have to admit that Cauchy has a very amazing ability, that is, to turn a phenomenon that we turn a blind eye into into an intoxicating image, and unknowingly cast a veil on this image, giving Every moving image has the ability to put on a delicate cover. It can make you vaguely feel the beauty and sadness of what you see, but they are not the essential content that the author wants to express. Perhaps, I can take the risk of dividing "Adele's Life" into three layers, which seem to be indistinguishable, but always intertwined. Adele, for example, goes to Emma's house and discovers that the dinner Emma's parents prepared for them was a large plate of oysters—and only oysters. On the surface, "oysters" make sense in the plot: Adele tells Emma that she hates seafood the most, especially oysters, which have a weird feel and taste. In fact, the oyster itself is also a sexual suggestion. With Emma's help, Adele not only ate an oyster, but it tasted pretty good, and the meaning was self-evident. In addition, when Emma and Adele served each other, they used their favorite oysters and pasta, respectively, while the former was difficult to cook and expensive, while the latter was a common meal, obviously not the same level of food. Differences in food naturally signify differences in habits, but more importantly, it also reflects differences in family circumstances. In addition to oysters, Emma's paintings also show three levels: it is not only a tool and means for Emma to earn a living, but also an intuitive expression of Emma's love, and it is also an excellent proof of Emma's wealthy family. When Cauchy presents these three dimensions, he does not separate them mechanically; his way is to integrate all of them into a love story, and this makes the actor's frown and smile full of endless meaning, It may become an outlet for venting emotions, a symbol of bursting love, and it may reveal a person's identity and cultivation, and even if only one level can be captured, the audience is already fascinated by it. Tao Ran was intoxicated.
Love is the most basic level of this film, and it is undoubtedly the most plain one. Some people commented on "Adele's Life" and said that putting aside the issue of homosexuality, this is first and foremost a film about love. This is a reasonable statement, and it makes people feel that it is a lot higher, but when you think about it carefully, in fact, it doesn't make the movie look so smart, but it also reduces the style a lot. Why is it "first" a movie about love? Why leave the issue of homosexuality aside? Probably to avoid controversy. However, in any case, if we want to discuss "Adele's Life", we must not ignore the issue of homosexuality: if not, why does director Abdai Koshish end up not showing a man and a woman, but a man and a woman. What about Lara? In the film, homosexuality is a luxury. Adele traded all her friends for a lover without telling her parents, but she lost her lover in the end. Regardless of the final result, Adele endured far more gossip, cold looks and slander than when she and Thomas were together. People despise homosexuality not because people are straight, like Adele's friend, he just doesn't want to admit it. On the other hand, in Emma's circle, homosexuality is almost everywhere, not only because of Emma's profession, but also because Emma is in a relatively open-minded, relatively well-educated, and relatively tolerant environment. Although the second half of the film is almost entirely devoted to the performance of the two-person world, the lines between tradition and enlightenment, nobles and commoners seem to have become more and more blurred with Adele's break with classmates, but the actual However, this question cast a long shadow on Adele. Heterosexual and same-sex, pasta and oysters, literature and philosophy, teachers and paintings, all show the same truth and reveal the real reason for Adele and Emma's separation. It doesn't have to be the only reason, but it must be the most important one. As Cauchy himself said, "the obstacles between the two of them getting along, the reason for their final breakup, is what this film is ultimately meant to express-" social disparities", the kind of things that make them have differences in their personal visions." "Go left, go right" is naturally talking about love, which is what Jimmy means; but it also symbolizes radicalism and conservativeness. So they took two completely different paths; rather, they were always different.
I personally love the scene where Adele and Emma are reunited at the cafe. Adele asked Emma lightly how old her child was, and Emma only said that it was three years old. These three years are actually the three years since the two were separated. Three years of cold and warm, I am afraid that only I know it in my heart. I stared at Emma's face and was pleasantly surprised to discover her lie when Adele asked if she still loved her.
"Since when did you lie to me?" Emma once asked. In fact, it doesn't matter at all, what matters is who the lie is for. Three years later, Emma finally understood this truth. She didn't speak, shook her head, and said that she was "tired and not in love". In fact, I want to say, except for Adele, who is deeply in love, who else would believe that the word "no" was said in Emma's lingering eyes? So the ending of the film doesn't actually make me feel lost, but it fills my heart with anticipation. Because, no matter how much Emma hated Adele before, she still retains "infinite tenderness" for Adele.
View more about Blue Is the Warmest Colour reviews
