Since we want to drag the theme to "affectionate", then we have to mention the grotesque loves written by these writers. Carla, who ran away from home for love in "Escape", fled to prove her love. Although she finally returned, she found that she was "not moving, but her heart was far away"; Dazai Osamu's "The Wife of Wei Yong" is also a relationship between the two sexes. of strong image; Watanabe, needless to say, his tirade about love and sex often make readers blush.
When I was young, I watched the movie "Paradise Lost" of the same name adapted from his work alone late at night. The elegant Hitomi Kuroki and the melancholy Koji Yakusho performed the blood and bones of the two characters in the original work. But even if the actor's performance is superb, such an emotional relationship is still beyond my comprehension. I especially want to ask: "Is this necessary?"
However, the answers given by the writers must be "this is absolutely necessary." Watanabe Jun has always been fascinated by the "distortion" in the relationship between the sexes, but when he returned to China, the love written by more writers was closely linked with reality, showing a sense of helplessness. The kind of love in Paradise Lost is probably rare in the eyes of Chinese writers, at least in Yan Geling's case. If Watanabe Junichi wants to use the extreme way of death to prove that he really loves, then Yan Geling is just the opposite.
In the early viewing session of "Return" accompanied by yawns in the morning, the media people who were almost full of the entire cinema began to grope for the facial paper in the dark ten minutes after the film started, until the end subtitles were broadcast. The theater is bright again, and the only thing I'm glad is that I didn't have time to put on makeup because I woke up too late, otherwise I'd have to make up my makeup.
"Return" is an adaptation of the last part of "Lu Yanshi", omitting the previous foreshadowing of the emotional development between Lu Yanshi and Feng Wanyu, and directly showing a couple who are facing each other in life and death in a chaotic world. Just when Feng Wanyu lost her memory, Lu Yanshi explained the method to restore her memory. Of course, if the ending of the family carnival is to restore her memory, it must be the rhythm of the Hong Kong New Year movie. It is most distressing to be with someone who can't remember me for a long time.
One kind of love is to perish together, which is bound to be warm and exciting, but it may be very bloody; the other is to ignore the gains and losses, and only need to be by your side silently until the end of your life. Which one is more charming, of course. Lawless things.
When I was in middle school, I read a sentence that shocked me: "If deep love is a tragedy, it will be read in the form of death." But now it seems a little hypocritical. After watching "Return", the old man in the film uses the last sentence The freeze-frame lens overturns this sentence, and its correct interpretation may be "if affection is really a tragedy, please accompany you in silence."
Published in "New News" No. 496
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