I have an old name. That name is very long. In order to finish the name, it takes someone's life. -"The Silent Future"
From reading it to now, there is no way to extract God from this storm. After 120 minutes, my soul flew away. The last time I was so dazed was when I finished watching "Miss". Too many subtle feelings are intertwined in the hidden details of the film, and it takes a few more times to accurately capture it. The rhythm of the whole movie is like the creative process of a painting——
The first step is to find the background color. This is an isolated island surrounded by the sea, allowing the minimal relationship between characters and the lack of male perspective to be successfully taken over.
In the second step, use simple lines to outline the characters. Marianne, the painter who inherited his father's business, came to the island and made a portrait of Eloise who was forced to inherit the fate of his sister. It is worth mentioning that Eloise’s appearance and the five veil were lifted to make the staring subject of the film appear in front of the audience: the back of the burning woman in the painting-the description in the maid's mouth-the oil painting with her face painted off (this one I still have doubts about who the painting is)-the back figure in the cloak-the blond hair that reveals when running, to achieve the ultimate sense of mystery, tempting the audience to participate in this grand viewing together with Marian, or to say, fall into it. (The appearance of Milan in "Sunny Days" also used such "layers of occlusion" treatment).
The third step is to outline the details. When Eloise asked about symphony and the feeling of love, I thought of "Miss" for a while. The companionship that started with deception inadvertently opened Lidi where neither of them had set foot in. After an adventure, they taught each other freedom and love. I especially like the scene where each other exposes each other's externalizing actions. Marianne said: When you are shy, you bite your lip. When you are angry, you don't blink. Eloise asked her to come over, stand in her own position, and follow her own gaze: When you are staring at me, I am staring at you. And tell her that when you don't know what to say, you will massage your forehead. When you lose control, you raise your eyebrows. When you are troubled, you breathe with your mouth. At this moment, the film also completes the detailed description of the two people's character and relationship, which is extremely high-level eroticism. It’s great that in that era without cameras, the eyes could legally stay on the face of the lover; on the island without electric lights, the firelight can outline the fluff that only the lover can notice. Every frame, every shot, every crackling of the branches in the fire, the friction between the brush and the paper, and the whispers around the ears are caressing with warmth.
The fourth step is to paint. In the bonfire scene, Adela's skirt was burning quietly in the dark, and with the rhythm of the rhythm, the two eyes met in the sky of sparks. The storm is coming. The film began to use stronger color blocks to cover the rough and tentative lines, fill in the folds formed by color difference in the blanks, and hide the belated eyes and the noose of lust in the shadows, trying to recover all the wasted time as much as possible. What followed was great sadness, the painting will eventually be completed, and every stroke is a wedding dress for the lover. It may be the patience of Celine Sianmar, who is never eager to explain anything in her movies. Therefore, in the first half, because of the too empty narrative, there will be doubts about the emotional handling of the two people, and then gradually get better and better. Because the director is convinced that they will love each other eventually, and we will eventually understand their tolerance and choice.
The last step is to close the pen. Eloise asked: When did we know the drawing was finished? Marianne replied: At a certain moment, we stopped. Like a word of love. Many years later, the two "reunited" again in the exhibition hall. Marianne stared at the familiar facial lines in the painting, and was able to see part of Eloise's life after they were separated: wrinkles, children, and the one that only the other party can understand. Code love letter. After the movie, I discussed with my friends whether Eloise also saw Marianne in the last scene. I subconsciously felt that there was no place before the end of the movie. Eloise was sitting alone near the stage, and when he really heard the symphony "Four Seasons", maybe he remembered the scene when Marianne used the old piano to panicly explain the storm to herself. The lens replaced Marianne's eyes, and it was a beautiful brush to watch the lover miss herself for a long time. But then I thought, maybe in the bustling painting hall, Eloise had already seen Marianne. She muttered the phrase "turn around" silently in her heart, but did not dare to make a sound. In the symphony hall, she sat opposite her, knowing that her lover was staring at herself as she did before, but she was afraid to look away.
He chose to leave memories about her, so he would look back. What he made was not a lover's choice, but a poet's choice.
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