The film perfectly inherits the BBC's usual big scene, fine workmanship and fine carving. From the lines to the costumes, from the background to the actors, from the plot to the acting, everything is impeccable. Even the control of intonation is perfect. The transition of every scene and the selection of every piece of music are neat and just right. 180 minutes doesn't feel long at all, just deeply intoxicated. This is the best (not favorite) LES movie I've ever seen. In addition to the greatness of Sarah's original work, the director to the screenwriter definitely contributed.
Absolutely, British, Victorian. Represented perfectly. I just can't describe it in my poor words. I just feel that every picture is reluctant to miss, and every line will be used and reflected in the following plot, and there is no unnecessary waste at all.
The film itself is impeccable. Although many people criticize that the portrayal of the hearts of the characters is not as good as the original work, this is the limitation of the film technique itself, and there is no way to do it. But for most people who haven't seen the original, all the emotions have been accurately conveyed. It doesn't feel jerky, it doesn't feel abrupt, everything is handled well. The only thing that can make me regret is that the heroine is not beautiful enough. Very bookish, very British, very Victorian, even, it can be said that the temperament is very aristocratic, but indeed, it is not beautiful enough. Not enough!
Love does not allow deception. always like this. So the love in the film will be questioned, are they really in love? Why is everyone harbouring conspiracies and lies are everywhere.
Indeed, they use each other, deceive each other, hurt each other, and almost destroy each other.
However, they are indeed in love!
Sue loves Maud, and Maud loves Sue.
Although lies exist, love also exists. And, more sincere and stronger than a lie.
Maud loves Sue. love. She was even willing to give up her complicity with the gentleman at one point. If Su said she loved her at that time, she would definitely give up the freedom she had longed for all her life for Su. Always stay in the hell on earth arranged for her by that old hooligan.
Sue also loves Maud. Although he never spoke, he did his best to protect her. (The description in the original book can best reflect this.) The little Saxby child who grew up in the den of thieves probably shouldn't expect too much. It's understandable to be selfish. But keeping silent after clearly falling in love with Maud, and letting her fall to a terrible fate is something I can't forgive. Therefore, it is not sympathetic to be thrown into a lunatic asylum later.
In fact, at this point in the story, I don't know how to continue. It seems to have entered a dead end, but it turns out that everything is just the beginning, bigger black hands, bigger lies, and even more amazing conspiracies. . . . . The two girls became pawns, surrounded by greed, deceived by love, manipulated and exploited by their own mother. . . . I'm really powerless, things are like a derailed train, rushing down, and I can't see any other ending except 'destruction'. However, the great Sarah Waters, in a turn of the pen, made all the previous seemingly superfluous foreshadowing reasonable, neat and unobtrusive.
When Sue walked up to Maud, when Maud said in tears, "I did something horrible to you. Unforgivable." "This paper is full of, all, how much I want you, how much. Love you!" All betrayal and harm, conspiracy and lies can be forgiven. Because love is real.
All deceptions can be forgiven, and mutual harm can also be made up, because love is real.
As long as love is true, everything can be forgiven.
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