It wasn't until 13 years later, when I found out that HBO's dramas became more and more appealing to me, I thought this business card would not be too bad, so I watched it.
The first episode made it clear that this was typical New York leftist TV. The protagonist defies all traditional ideas of the right: patriotism, family values, sexuality, sexual orientation, traditional values, marriage, love. . . Perhaps there were not many such anti-Hollywood works in that era, so that overcorrection was overkill, and the protagonist's extreme individualism, liberalism, and nihilism even disgusted me, a self-proclaimed leftist. Usually the protagonist is loved because of the sense of substitution and sympathy from the first point of view, and the protagonist of this film is almost hated. If it weren't for the reversal of the last few episodes, I think many people would like to strangle a few protagonists in the middle.
Although positioned with black humor, the film's too objective and calm description of the meaninglessness of life and the unreasonable death of death still makes people shudder. Born by chance, lived well, died randomly. Maybe this is the nature of life. It is for this reason that a person should only be true to himself. This is probably the core value of leftist screenwriters. So that Brenda is so extremely irresponsible, even a shameless woman, gave her a good ending. Just because she has always been true to herself. But Nate and Lisa, who are full of idealism and love, have a tragic ending, because they both try to change themselves and compromise to the world. Of course, the quality of this ending is not based on whether or not death is the standard. Obviously, in the eyes of the screenwriter, life and death are nothing but the same thing.
In the last episode of the film, Ruth, despite the loss of a child, has to drive Clire away to let her pursue her dreams. And even when Clire's reason for leaving home—a good job—was in vain, Clire's imaginary Nate still insisted she go. Ruth regrets the freedom he sacrificed when he was young, and regrets leaving Nate at that time. Nate has been struggling with the confrontation between his true self and his family's expected self, so all family affection gives way to his true self. That's why Ruth finally asked, was Nate happy before he died? This is the core value of the left. Ironically, however, Nate's final happiness stems from his longing for a caring, responsible, gentle and tolerant partner. Perhaps, the screenwriter wants to say that no matter the left or the right, the contradictions in people's hearts are the same.
The most likeable character in the film is Rico, who is not so sensitive, but is better for others and himself. However, David, the gay character who should have the most radical leftist ideology in the film, is the one who most enthusiastically embraces the rightist values in the film. He goes to church, loves his family, and loves children. . . Although he has been struggling, but in the end, he is very good.
With such a subject and discussing so many values, it is not necessary to say that the screenwriter is awesome. The performances of some of the leading actors are also amazing! It is conceivable how disastrously funny the film would be if there was a facial paralysis like Wu Yifan or a pretender like Fan Bingbing among the actors.
View more about Six Feet Under reviews
