[True love is often irrelevant to any label, the key is to understand and cherish each other. 】
First of all, I don't think this is a cliché love story, two people will be attracted by no means as simple as sexual attraction.
Therese comes from the ordinary class, working as a salesperson in a department store but aspiring to be a photographer. She has strong sensibility and loves reading. She understands the world in the same way as her passion for photography. She stands behind the camera, silent, thinking, observing and feeling. But this feature makes her seem a little out of place in the same class environment. In the first part of the film, in the lounge on the first floor of the department store, everyone wears Christmas hats and eats and chats in twos and threes. She sits alone, without a hat, looking around with a cup in her hand, and then she opens her hands again. in the book. This scene gave me the most intuitive feeling that she was in the environment, and her eyes were observing the environment, but she always had a sense of separation from the environment. When Richard and Carol were talking to her, they asked "you listening to me?" and "you still with me?" respectively. It was because she immersed in her own thinking and feeling that people outside seemed to be distracted. where did it go.
So Carol would say she was "flung out of space". This also shows that Carol recognizes that she is different from others. In addition to the crackling chemical reaction between the two, there is also a soul sympathy. It goes without saying that Therese cherishes and yearns for Carol, the film is very direct, and spicy is also very good. But what about Carol, I don't think she's the one who's in control of the game and wins.
Carol respects her. Although the senior class is different, she has never set any framework to know Therese, and she is also feeling her with her heart. In the film, Carol's feelings for Therese are less shown because of her divorce and relationship with her husband, but it is not for nothing: After participating in the exhausting party, Harge refused to focus on "me, me, me", and settled down again. After sleeping windy, she finally had her own time, what did she do at this time - drink wine and open the little train bought from the department store, the little train recommended by Therese. Looking at the little train, isn't she thinking of her? It must be imagining her, feeling her, trying to understand her inwardly and draw her.
She encouraged Therese to chase her dreams, telling her that "talent is not about letting people tell you if you have it, you just have to work hard"; she said "I don't even have a decent camera", so at Christmas Before, I encountered such an uncomfortable thing that Windy's custody was deprived, and I still remember giving her a camera that she would like. A person who has always prided himself on being mature, elegant and rational, when Abby asked you what you thought about Therese, the answer turned out to be "I don't know, I never knew" - no, according to your age and class You haven't seen anything, you haven't experienced anything, and you don't know what you're doing—it can be seen that she is also deeply immersed, and she doesn't want to think too much about her relationship with Therese rationally, but just distracted. So it appears that Therese has always complied with her request, in fact, has always been mutual.
Secondly, I think [except each other, no one in the film can give them what they want in love; it is the interaction of two people that brings love to this state. ] This is a more ingrained destiny than love at first sight, and only the so-called hormonal adrenal stimulation and possessiveness are far from unworthy.
The male characters in the film, whether it is Richard or Harge, all stand in their own perspective and say how about "I'm for you", how about "So you have" - is this love? The implication of their "I love you" is, "Look at me, how can you not respond, you have to love me, you have to be grateful, you have to respond". It might work with others, but with Carol and Therese, it just doesn't. Their problem isn't gender, it's that they don't really understand, or try to understand, who they are in love with; that is, Carol and Therese want the kind of love that they can't give, that they don't have the ability to love. give.
In fact, Therese and Carol are essentially soft-hearted, sensitive people, both showing that although they don't love their male partners, they don't want to hurt them. In the scene where Carol and Harge were arguing outside the window, Harge spoke ill of Carol because he couldn't get it. Carol was firm but never gave a accusatory counterattack. Harge's words "You were never cruel" immediately softened Carol. He tried to appease him, but the man only thought about his anger and feelings and threw his hands away.
On the other hand, in the relationship between Therese and Richard, although there is not such a strong conflict, it also shows the key point that the two are not destined to be together: he doesn't really understand her, and the subtext of saying that he loves her is "You have to love me" ', rather than really thinking about what she wanted from Therese's shoes. For example, Therese told him that he wanted to combine his photos into a photobook and submit it to The New York Times. What an important step for Therese's ideal career, but what was Richard's response? Richard didn't listen at all, but interrupted her and said, "Have you thought about going to Europe?" Therese looked at him blankly after hearing this, with a look of disgust on his face. will be more hated.
It is because of the existence of such a male partner that Carol and Therese's love is so precious. Carefully touch, test, approach, and try to think from the perspective of the other party. Even in the only grievous quarrel in the middle (not really), Carol lost control and said to Therese, "Don't you buy me cigarettes in this deserted place", don't you do it, don't you do this for me . It's also an angry remark from the other side's point of view. The camera only allows us to see Therese's grievances, and Carol, what was she thinking at home after speaking loudly to Therese, holding an unnatural hand when apologizing, not showing her complicated thoughts at a glance. Being sad and helpless by the divorce, the emotions are tense, but on the other hand, therese is reluctant to let go of her heart. Allow her to come into her, to tell her about her life, to approach Therese's tender and firm heart beneath her estranged appearance, and at the same time to give her her heart.
This is really love, and it may have been attracted by the charm of external temperament at the beginning, but [the root of these two people will not have a tragic ending in the end is that they understand and cherish each other. Under the background of that era, they can recognize Know what you really want, and make realistic efforts to achieve it], from this perspective, Therese and Carol are actually the same kind of person. Love is not only light and flint, but also respect, responsibility, courage, tolerance and patience. This is the essence of love. And they have this ability to love, and both give each other.
Finally, someone can use music, editing, and footage in this way to show the tension and emotional flow of characters' relationships, and to present the love relationship that is like the hero's dream in my heart in a real documentary and convincing light and shadow language narrative. What a fortune to meet in a movie. Many shots and soundtracks can be used as textbook cases for composition analysis, layout analysis, and rendering character relationship analysis. In the scene where Carol gave Therese a camera gift, Therese came out of the kitchen, and the camera pan followed her all the way until she stopped at the door. In a quarter of the picture, Therese's back and Carol's half body leaning against the door, but the relationship between the two is very realistically presented, as if we were also thrown into the scene, and we could see Therese's response to Carol's arrival through the back. Excited, little excitement to open gifts.
At every key point in the relationship between two people or in the heart of the film, the music will change appropriately, strengthening the flow of emotions in the camera. For example, in the place where Carol called and apologized because he spoke too much, it was obviously two spaces and two scenes, but the close-up shots of the two people made us feel that they were so close and unceasingly cut, and this kind of closeness was very close. Vulnerable, easily blocked by external reality barriers (like the relationship between the two at the time): Therese says I have a question to ask you, Carol almost begs you to ask - when the music starts, the close-up turns into a medium shot, and the two The people were separated, and the grief swept over them; the return of the drunken young people on Therese's side interrupted their further conversation.
For another example, at the end of the film, when Therese recognized herself and made up her mind to find Carol, the background was always the noisy hotel sound, until she saw her, and the camera moved towards Therese step by step, we can see her breathless breathing. , At this time, the noise disappeared and the music sounded, which completely showed her uncontrollable surging mood and firm courage. The camera towards Carol mostly gives a subjective perspective. Accompanied by slow motion and fluctuating music, we step by step across the complex environment of the hotel and the Waiter, and walk towards Carol step by step. The piano rhythm and the slowly shaking camera make the emotions in the scene. Moved to the fullest. Resonance requires the audience's own emotions, and more importantly, the director's ability to mobilize resonance. In this film, we fell into the trap of the production and presentation of the directors and actors, and we were willing to do so. People often say it's too good to be true, and this film is a solid illustration of what it means to be "too good to be true." It's sure to make a name for itself in romance history, just wait and see.
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Also, I agree with a lot of people's reluctance to classify this movie under the lesbian category. Because in common perception, this label only emphasizes sex and ignores the rich content of the movie itself. But until we de-stigmatize the label, the fact that the film's protagonists are two women cannot be ignored. It needs to be emphasized, and people need to know that the living love you see sometimes has nothing to do with age, gender, class, or race, but the attraction, respect and tacit understanding of two independent individuals, spirit and flesh. . But before that day comes, the first step to breaking the frame and the label is to stress that the label doesn't mean anything. You watch this movie, how many men, men, and women can reach the level of love between the two of them? Think about it, if one of Carol or Therese is invaded by extraterrestrial substances or chemicals after being together, and becomes poor, sex-changed or racialized, and the others remain the same, will one party abandon the other because of this? I don't think so. So will this movie be labelled "transgender" or "sci-fi" or "working class"? Just post it, it is understandable that some people's cognitive framework is so narrow, it seems that they cannot understand things without a framework. So if you post [Science Fiction], will you be sensitive and feel like you don't like it and don't want to see it like [Lesbian]? No way. Could it be that there is a problem with the projection of labels in your mind? To break the game, it doesn't start with what can't be said, but it's nothing to say. Whatever you go to label, what I see is love, sincere and beautiful love. enough.
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