I've been looking for a suitable title for this article, but I can't seem to find one that is appropriate. It was not until I heard the familiar light tone, "the truth that you leave" that day, that I felt the power of "I find it".
Rimbaud's role is played by Leonardo. The film tells the story of the same-sex love between the poets Rimbaud and Verlaine. Rimbaud is penniless and talented; Verlaine is passionate and heartless; he loves Rimbaud but abandons his wife; every scene is played to the extreme. To be honest, I was fascinated by Leonardo's looks before the movie even started. The amazingness of "Titanic" is still there, and his unruly poor boy image still jumps in this movie. Bo gave the character poetry, and he brought Rimbaud's scenery back to life. The film makes the concept of love and eternity infinitely reduced and enlarged, which is surprising and has to be deeply reflected upon.
Many scenes in the movie are fascinating. In one scene, as they emerge from a bar, sixteen-year-old Rimbaud says of marriage: "Whatever binds the family or the two together, it's not love." It's ignorance, or selfishness, or fear. "Love isn't in it. When I heard these remarks, I was not only surprised but also struck by a sudden realization. In such a situation, how could Verlaine, who is bound by material and flesh, not be fascinated by such a beautiful man with a soul?
I don't know if there are deliberate misinterpretations and contrasts. In the movie, Verlaine is naive and ignorant. He is indifferent to the things he doesn't love, but he doesn't believe that the things he loves will also be cold. He loves Rimbaud, but the body is more important than the spirit. He uses his rotten soul to crave Rimbaud's fresh blood, but the cowardice in his heart makes him lock himself in the rusted prison again. The inferiority complex in his bones keeps him from getting rid of the narrow and tiresome part. Because of the cowardice in his bones, he abuses his father-in-law and hurts his pregnant wife, which is unbearable. It has been stated many times in the film that Wei's poems mainly express his deep love for his wife, but whether this love still exists at the moment when the pen is written makes people laugh bitterly. After many years, Verlaine has tasted the world and finally understands what love is, but his lover has left him.
Because of this ignorance and cowardice, Rimbaud stabbed a knife into Wei's arm, trying to awaken some with pain, but to no avail. I wonder if Verlaine, whose hands are so white, will be more resentful or loving? What is love? Verlaine keeps torturing his wife but never leaves her, which seems more cowardly in comparison. As Rimbaud said in the movie, it's sad. Atrocities are disgusting, and apologies after repeated atrocities are even more ridiculous. From an outsider's point of view, Rimbaud told us, "If you don't want to hurt others, don't hurt them." If you hurt someone, be ruthless, and don't insult the victim with a so-called apology afterwards.
Rimbaud, played by Leonardo, is even more ruthless. Humans are flesh and blood, and they also have the joy of fish and water. But in contrast to Wei, he loves the soul far more than the body. His appearance and talent make people want to get close, but his reason is so lethal that people dare not fully commit themselves to him, and they are afraid that he will be bruised and bruised like Verlaine. At the time, he was able to retreat.
But is this the case? Occasionally, I can also observe the feelings between people as if I were a bystander. Interacting with people is often regarded as cold. Maybe the mood at that time was similar to Rimbaud's. However, at those times, I frequently felt a deeper despair, the kind of despair that eliminates all possibilities for happiness, but there is also hope. The calmness in the center of the typhoon was restored. Perhaps Rimbaud lived in this unseen cave for many years. Rimbaud is a ruthless intolerant person, so he said to Wei: "Everything is the most intolerable." Because he understands that it is not tolerance but numbness that is the shelter for all the rotten things under the gorgeous appearance. In Rimbaud's youth, he always wanted to wake up Verlaine, whom he loved deeply. He wanted to wake him up with the piercing pain of his palm, but it was too late. In the end, changing a person in love was actually fruitless. desperate However, in real life, this kind of strength has always existed, but it does not consume physical strength but a person's youth and trust, and the ability to dare to love.
Maybe the belief in Rimbaud's heart is too sacred; he will not sacrifice all people to change one person, and because of this, he can only turn his head and leave. Just like he is eager to run to himself, he turns around, walking non-stop on the road without him.
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