After all, I was a weird kid who grew up in a uniform education system, so when I saw the translated title of a certain version of the movie "Labor Day", I wanted to give up watching it for a while. But looking at Winslet, the heroine who is best at playing the role of inhumane fireworks, if you want to say otherwise, just experience the beginning first.
The story behind it is that the idyllic scenery in the opening chapter has been reduced by a few notches, and the occasional flashback of a little suspense made me sit down.
Winslet is indeed a good fit for such a role: no matter what era and background, she is not human; she is out of tune with her surroundings, whether it is the spiritual world or emotional choice; her skin tone and nude makeup are so sickly that people I feel that under this face, a story is about to happen.
If I could put a few more labels on the film, maybe one of them could be "food philosophy".
Regarding the philosophy of food
, it is not an exaggeration to describe the relationship between Frank and Adele with a delicious relationship. A peach pie, a lunch during a kidnapping, and starting a relationship where everything is reasonable, except that it is not legal. A meal here is more transformed into an interpretation of the family. The heroine who refuses to get out of her loneliness, loses confidence in everything, and has no ability to live (as can be judged from various details), is uncontrollably captured. Plus, the man value of the male protagonist is enough. The story is established.
Label 2, the confusing
clue of growth is the transformation experience of the little boy. Many interactive details about Adele and Frank are not shown in the film, but the whispers heard by the little boy at night, the speculation behind the house, and some unnatural subjective methods in the vision when they suddenly return home are portrayed. It also responded to the foreshadowing: the truth is the most deceptive enough to confuse people. The prisoner escaped as he wished after telling the truth, and the little boy took away the huge sum of money with his mother after telling the truth, and the director's mentality: you didn't see anything, but I guess you know the winner's mentality.
The boy has a "possessive" emotion towards Adele. After all, his family is only his mother to him. So when a second person appeared in the room, who wanted to share his mother's emotions, there was an emotional cancer in the little boy's heart that he had to fight against. So from the beginning of showing trust and dependence on Frank due to the lack of fatherly love, to hostility because he might take away the whole of his mother and his life, because of Frank's arrest, the relationship with his mother has a crack, and finally, He let Frank go to put an end to the holiday romance. It is a person's growth, the difficult journey from being unique to respecting freedom.
Then there is the art part.
I have to say that the slow-moving environment in the film is laid out, and occasionally I hold my breath, the fragments of memories that stop my heartbeat, and the rhythm of the film that breaks the magic spell of falling asleep if I use too many long shots. When a love story is placed on a holiday in a small town where time is nearly stagnant, viewers who are used to the rhythm of a second and a light-year may complain about the hopeless length of time here. Like a documentary, the director uses the statement of the little boy's third-grade composition to stage the trivial things that the family lacks in seemingly eternal days. A bland to silent town that seems to have its own story, its own neurotic neighbors, everyone who tells the truth but is forever ignored. A remote American town in the 1980s seems to be close to our neighborhood. But in a world where Adele lacks love, the caring neighbors we miss, the kindness from strangers, sees nothing in her eyes. That is a man who is in love with love itself. Her ex-husband, the biological father of the junior boy, said so. And for the ordinary trivial matters of these days, she is bent on weighing the world with a desperado. She is not the kind of "never been bullied" that Chen Danqing commented on the expressions of Europeans and Americans, she is in love with love itself. Well, that's actually a really bad excuse. But in a film to justify it, and preferably through a seemingly objective person, such as the evaluation of Adele from an ex-husband many years later, it has become a necessary treatment method.
Finally, I would like to say that the informer may not be the little girl, maybe the neurotic female neighbor, maybe the little boy's strange behavior on the first day of school that attracted the attention of the police, or maybe his biological father.
The truth that is told will confuse people the most,
and the truth that is not told is closer to the truth in everyone's heart.
For a closed time and space story that takes place in a time gap, we onlookers know enough.
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