(1)
In fact, the degree of obviousness of film ideology varies. For convenience, we can divide it into the following three categories: neutral, suggestive, and explicit.
Neutral: escapist movies and light entertainment movies tend to obliterate the social environment and use fuzzy and brisk backgrounds to make the story go smoothly. They emphasize action, entertainment value and stealing pleasure. The concepts of right and wrong are only touched on the surface, even No analysis, such as "Nursing Baby Qi Tan". The most extreme are the avant-garde films with no physical objects, such as "Temptation" and "Rhythm 21", in which almost no ideological value is entirely aesthetic-a color, a shape or a dynamic rotation.
(2) This film is as crazy, ridiculous and fun as most neuro comedies. Gary plays an absent-minded academic, focusing only on work, but turning a blind eye to the important things in life—especially excitement and love. These are all provided by the lively and savage Hepburn, who plays this beautiful man round and round. No one can act so comically as a polite, considerate, but helpless man than Gary. His scene is a male humiliation one after another, completely and completely (from the inside out). Deprived of identity.
(3) It may be misleading to analyze ideology in a mechanized way regardless of the tone of the movie. For example, "Nursing Baby Story" can be interpreted by left-wing critics as a criticism of a degenerate society. The background is the last years of the era of economic panic. The story is The upper-class daughter (Kalinhe Hepburn) is eager to divert an archaeologist (Gary Grant) from her work and fall into the trap of her love and play. This is by no means something that leftists like to see. They generally reject farce.
But the tone of this film is completely different. First of all, Gary's character was originally engaged to a woman who is proud, sexually attractive and has no sense of humor. She believes that work is paramount, and she even thinks that she should not spend her honeymoon or have children to avoid delaying work. She is the incarnation of work, but Hepburn is on the stage. She is beautiful, lively and rich. When she found out that Gary was engaged, she determined to set a series of traps to let him leave his fiancée. Hepburn’s role was exciting and fun. Gary was forced to abandon her nerd behavior to match her crazy behavior. In the end, she is his salvation, the lover eventually becomes a genus, and she is born a perfect match. In short, Hawkes’ neurocomedy is completely what the critic Robin Wood calls “irresponsible seduction”, and the middle-class work philosophy is described as boring-as dry as Gary and his fiancée. Dinosaur fossil dedicated to research.
Is there no ideology in this movie? Of course not. In the 1930s, many American films were based on the life and luxury of the rich, and the rich were portrayed as weird but kind. Hawkes’ films also inherit this tradition. The suffering of economic recession is not involved in the film. The scenes of the movie, such as luxurious nightclubs, beautiful apartments, and elegant country villas, are all the audiences of that era. Forget about real life.
But the movie does not put politics on the surface, the focus is on the charm of the protagonist and the crazy adventure he pursues. The heroine's luxurious life strengthens her attractiveness, and her needless work (and does not seem to want to) has nothing to do with the storyline. "Nursing Baby Story" is a comedy romance film, not a social critical film.
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