Regarding crime and repentance, there are many movies about sin and self atonement (self-redemption). Sins are always committed deliberately before they need to be redeemed and can be forgiven. Amir's performance in hours makes people feel that the age of childishness seems to have passed. In this sense, salvation is also a way to regain the authenticity of childhood. To find the world deliberately forgotten by myself as an adult is to find my true self. He drove Hassen away because he couldn't face himself in front of him. The existence of Hassen reminded him all the time that he was such a mean, weak and betrayal partner. Only when he is gone, he doesn't need to face himself in pain and escape for a moment.
Interestingly, Amir completed the confession and atonement as a writer. This arrangement allows reflection and conscience to be implemented in the reality of real life, and it is also in line with the author's identity recognition and role positioning. In other words, if he is not a writer and does not have such a clear sense of self, is salvation still possible?
In a deeper sense, Amir's confession object is not only Hassen, but also himself, his father and family, and what cannot be forgotten is his homeland. The completion of the confession once again established his relationship with his hometown, from a wandering stranger to a member of the cultural role of the motherland and his hometown. This deep metaphor is only accomplished through the old things of his childhood as a medium. In the end, he finally reached an understanding with his hometown and his home country, and rebuilt his spiritual connection and cultural blood (though he had to return to the United States).
However, the completion of all this was based on his realization that Hassen was his younger brother as a direct clue. In other words, if Hassen was not his younger brother, but just the servant of that childhood, would he still make atonement? In his heart, would he think from the bottom of his heart that he should repent (confess to a servant?)? You know, Hassen's love and protection for him, and when he was willing to endure, he didn't know that Amir was his brother. Even if he knows, this kind of love will not be discounted, because he is a child. But Amir came to redeem their sins, but after they grew up, they knew their identities. If there is no such identity, what will the end be like?
Or, without this identity, there would be no such novel, this movie, and this sad and moving story. Just like in "Journey to the West", if Monkey King continues to be as powerful as the riot in the Heavenly Palace when he is studying the scriptures, I really don't know how to complete the story of the Eighty-One Difficulties and the entire Journey to the West. But even with this assumption, the problem remains. Strictly speaking, if the issue of atonement is to be truly resolved, we must first find out whether this preconception of Husseini's identity is necessary, and its significance and importance.
This is also the only thing I can't let go of and satisfied. Think about it, if the problem of identity does not exist from beginning to end, then the huge inequality of repayment and atonement will naturally become prominent. A little bit of the old master and servant sentiment, Hassen had to pay the price in return for his life, and after his death, Amir would be at ease as long as he rewarded his children with a few money. Tai Shigong also wrote this kind of story in the "Historical Records", a meal of the rich, but the poor have to pay for their lives (besides, the poverty of the poor is, to a certain extent, the result of the enslavement of the rich's words) . What is the injustice of heaven? Perhaps it is worthy of comfort that although the homeland is stormy and in disaster, the kite will always fly again, and hope and love are still burning.
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