johnny was full of anger. He drank heavily, played wild guns, didn't do housework, didn't care about animals, and ignored his grandmother, especially his father. The calf did not survive, and his father made him bear the fault. He kicked the calf's body severely after his father left. It was a projection of anger towards his father and life, and a refusal of responsibility. This is johnny's behavior. Because the son was indifferent and misunderstood, his father had to find him a part-time job. At this time, a clue was split into two, one was the relationship and interaction between johnny and his family, and the other was the relationship and interaction between johnny and gheorghe.
After taking the gheorghe to the trailer, johnny slammed the door and couldn't, saying shitehole. It means this family that traps him, this backcountry Yorkshire is a shit hole from which he has nowhere to fly. He and his father don't give each other a good look. One wants his son to work with snacks, and the other shows anger by not working hard. The son thinks that the father takes the responsibility of his children for granted, so the son's resistance is to let his father understand The responsibility to the son is not taken for granted, and he still cares for the animals because he wants his father to be emotionally indebted. If johnny left his unfortunate family behind, he would be emotionally indebted and live with family guilt. Either live in anger, or live in guilt, that's johnny's psychological predicament. In the barn where johnny woke up from a hangover, his father accused johnny of drinking alcohol and made a mistake, and the latter said what was wrong with drinking some alcohol. What else can I do besides work? No one cares what I think ...(exhausted every day) because you're a ghost (what else am I meant to do apart from work like? There's fuck all else goin' on round here, is there?...no one gives a flying fuck what I think ...cus you are fuckin' fucked), it was a direct blurt of his inner anger. Through gheorghe's peeping perspective, the father can be seen berating johnny while the latter seems to be submissive. But this contradiction cannot be resolved by one side suppressing and denying the other side.
Johnny and Gheorghe have made several comparisons, mainly in the farm context. johnny stood not working, looking like a rich young master, this is his disguise, going in and out of the bar like his friends, chatting and laughing, not herding animals. Gheorghe built fences and delivered lambs. He was what a day laborer should look like, and he was meticulous in his work. When the first sheep had a difficult birth, Johnny said, even if it was rescued, it wouldn't grow well. Gheorghe ignored it, and a CPR brought the lamb back. johnny doesn't like seeing this guy in front of him being so obsessed with fucking life---he's used to expressing his anger by making mistakes, rather than acquiescing and adapting to the status quo---johnny just say what you want. This scene is both an ordinary record of herding life and a metaphor for an individual worldview. This lamb is like the left-behind young johnny himself: a lamb who died several times in a difficult birth/johnny who was born in an unfortunate family; a lamb who didn't grow up even if he survived/johnny who ate and waited to die forever behind his peers. Gheorghe looked at the angry and somewhat childish young man in front of him, and hugged the lamb tightly for warmth. This is a metaphor in advance. This gentle Romanian warms a lamb like warming a cold heart. The second lamb died of miscarriage, and gheorghe took off his skin and wrapped the first lamb in miscarriage so that it would eat the milk of the stillborn ewe. This is after the two people had a wild night, and the two were no longer the relationship between employers and day laborers, but added a layer of friendship and a relationship of gun friends. gheorghe also makes johnny realize that this hill is more beautiful than the latter perceives (it's beautiful, but it's lonely here, no?), including after johnny followed gheorghe to see the hills of England in the cold early spring. johnny no longer rejects gheorghe's behavior and attitude towards life. Gheorghe smiled when he saw that the rescued lamb had the guarantee of survival, and johnny smiled because he agreed with Gheorghe's love for the lamb----gheorghe was willing to warm johnny like a lamb, and johnny agreed with this silent and serious love meaning. In the scene of johnny's wounded hand, he went from refusing to gheorghe to pull his hand to submissive, the latter pulling forcibly to soothe the wound, that was to say to johnny that someone would love him and be willing to soothe him. The first shot of the two was no different from the shot of johnny and the trainee in the livestock car. Johnny offered to provide services, whether it was top or blowjob, the form was pure venting. But in the second shot, gheorghe touches johnny almost compulsively and asks johnny to touch him, he grabs the hand that is reaching for his phallus and pulls it closer to his cheek; he strokes johnny's body, guiding the latter's hand stroking himself. It doesn't seem like any strange foreplay, but compared to the first shot and the wild cannon of the livestock car, this shot is more intimate physical contact -- not the inadvertent touching of two limbs on a crowded bus -- --It is an expression of sexual desire (or love) under the guidance of sexual desire and before the release of sexual desire, which is the establishment of a connection. Early in the morning after a night of fun, gheorghe scratched johnny's calf with his fingers, and in the hospital, the former scratched the latter's fingers with his fingers. This symbolizes a presence, presence, connection, support. Gheorghe finally warms and connects with a cold heart that rejects others. Another detail after a night of fun is that gheorghe licks the old wound of johnny's palm, echoing the last spit and strengthening the expression of love. After that, the two share a bathtub, sit naked and sit in the Romanian word for ferma oaie, and embracing physical and natural contact means emotional closeness. In particular, johnny wants gheorghe to have sex in his room, but gheorghe insists on going back to the trailer. The latter was waiting for the unhappy johnny in the trailer, and he teased johnny with a smile. The decision of the scene is a power relationship, and the power relationship here has shown that the gheorghe, initially despised by johnny, is now not only accepted by johnny but can clearly lead the latter. In addition, the opposition between the trailer and the room is a kind of opposition between "outside" and "inside", "he" and "me". (cf. the trailer is pulled away in the final scene, the gheorghe closes the gate, and "he" and "me" eventually become "we/us").
A scene from the hospital where Johnny sits beside his seriously ill father's bed and slowly reaches out to hold his father's fingers, expressing his presence, connection, support - that is, his love for his father - when he hears grandma come in He then withdrew his hand, still ashamed to show an emotional self, maintaining an angry, rejecting image. Johnny, who came back from the hospital, went back to the corral scene, was squeezed by a cow, and scolded the cow, saying, get out of the way, you useless piece of shite. Gheorghe immediately stopped and said, hey hey, it's not her fault. He walked up to johnny and looked at him, helping him lay the hay. At this point, johnny still couldn't handle his anger at his father, family, and life. Grandma in the hospital made him take on family responsibilities, gheorghe in the bar made him clean up the family business, and that responsibility—and the dream of going out and out of the bar that it meant ditched—made johnny back off again, and the intern Sheng hit the wild cannon of pure lust again. johnny, who hasn't drank since the gheorghe came, drank again in this scene, it's a regression.
Pissed off gheorghe, forcing johnny to either make a change or stay the same. But the same pattern of behavior—that is, the pattern of defiance by wrongdoing—is less attractive than living with and like a sweetheart. johnny vented his anger by punching and kicking in the RV. The anger here is not directed at his father, family or life, but himself. johnny put on gheorghe's sweater, this is not mourning, not letting go, but his desire and even obsession - he chose to make a change. The scene of his father checking on johnny's work, johnny took out the bottle and put it back; his father, whose language ability was impaired due to a stroke, asked him, and he no longer ignored him. When bathing his father, he took the initiative to choose to replace his grandmother to bathe his father. At this point johnny has made a change. The father put his hand on johnny's hand and said thank you. This is the emotional connection between the father and the son, and it is an acknowledgement of the father's dedication to the son. It's not that no one cares what you think. I can feel your dedication. At this time, the father and son reconciled, and the contradictions between johnny and his father, family, and life were repaired. When johnny pushed his father to blow the wind and told him he was going to find his sweetheart, his father said you're going to leave this farm and leave me alone (th' farm? me?) johnny said I' m coming back. At this time, it is very likely that the father has learned about the relationship between the son and the day laborer from the grandmother who accidentally discovered the condom, and said make you happy? He wanted Johnny to be happy, and he had to leave him to take care of himself. johnny gave up his dream of talking and laughing like a peer, and planned to find his sweetheart to stay at home and take care of the farm. This is a mutual compromise accepted by both parties. So far, johnny's psychological predicament and behavioral problems have basically been resolved. This thread of gheorghe is like a catalytic process: he makes johnny learn to connect with people, express emotions, and at the same time make him willing to give up his dreams and stay on the farm: his presence prompts a person to reconcile with the world around him. But the perfect ending is one last step away—getting back his sweetheart—so his anger at himself can finally be defused. Then there are no twists and turns. johnny easily obtained the address of gheorghe's new employer. In that modern farm, gheorghe asked what do you want. johnny was hesitant when he heard the two girls passing by. gheoghe forced johnny to speak his mind with his taciturn and expressionless face. The tearful johnny is finally no longer ashamed to express his love. One detail here is that gheorghe reached out and pulled johnny's hand, johnny shook him off and said no, leave me, I'm fine----this is After declaring that your treatment of me with gentleness is over, I have made a change now that I am no longer a child who can only be held and licked, I can also hold other people's hands and lick them-- --I want us be together, I won't be a fuck any more... I wanna be with ya, this is the commitment gheorghe wants to hear [commitment]. over. I wanna be with ya, this is the commitment gheorghe wants to hear. over. I wanna be with ya, this is the commitment gheorghe wants to hear. over.
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From this point of view, the film is not the British version of Brokeback Mountain. Secular resistance is weakened, personal life difficulties and psychological resistance are strengthened. Sexual attraction orientation is not the point, although it is an important catalyst. The film is sweet because the two finally got married, and the change process was too smooth; but the sweetness is layered, sweet, and memorable, because the psychological predicament has been repaired in twists and turns. The depth of the film is nothing more than social and cultural depth and psychological depth. This film is in the latter. Although many Ping comments seem to struggle with the former.
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