The generation gap is the biggest dramatic conflict in the film. The father and daughter have been grumbling for years. Until the father's 80th birthday, the daughter still calls her father by name. Henry Fonda's Norman is remembered from the first minute of his appearance - stubborn, mean, and of course with a sense of humor, and it's not hard to imagine what he did to his daughter's self-esteem when he was young. How much hurt, and the stubborn daughter must not make her father feel much better. The film doesn't use any flashbacks to tell us how difficult the daughter's childhood was, but through the dialogue between the characters, we can paint a picture of the father's cynicism towards the daughter, the daughter's disrespect to the father, the father's All kinds of interference in the daughter's life, all kinds of contradictory daughter's reproach to her father...
"Mary and Marx" says: "We can't choose our own flaws, it is a part of us, we must adapt to it..." As we Not being able to choose our loved ones is part of who we are. Norman yelled when he was teaching Billy to fish, and Billy's grievance must have reminded him of the various scoldings he had given to his daughter. His "I'm sorry" was more like saying to her. Later, Jane Fonda resolved the gap between father and daughter with a neat backflip, and this "easiest move" is too difficult for many people, and they always think that they will never learn it in their lifetime. , so I never want to learn.
After saying goodbye to his daughter and Billy, the old man will return to his ordinary life. They stood by the lake and watched the pair of loons roaming in the water reflected by the setting sun. Life is like fishing, and the same effort often yields very different results, just like the two things Billy catches in the film - a dead loon and a live trout. But neither loons nor trout can accompany us out of this world. So Norman asked Billy to put them all back in the lake.
2013.03
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