It’s been a long time since I watched a show or watched sister Kate’s performance. I took advantage of the fact that I finished reading it once on the weekend. It is not a brain-burning suspense or detective drama, and there are loopholes in the reversal of the ending, but I did not hesitate to give it five stars because it cares about and presents the situation of the people behind the murders.
The heroine Mel's tired and determined face and eye prints lingered in her head. In the past, such complex and fascinating lone hero images are exclusively for men (such as "True Detective")-decadent, autistic, reluctant, and sad, yet able to stand up at critical moments and turn the tide; from time to time, there is a beauty The confidant stays with you, and when the task is completed, the woman disappears wittily-this kind of drama, the audience has long been aesthetically tired.
Fortunately, in the past two years, more and more protagonists with rich faces have appeared. They are independent, they fall down and get up, wipe their ass when they mess up, and they don’t need men to save them. For them, help the old and the young. , Self-improvement is the key to life, love is just a wonderful episode, and can't control their main theme of life. Kate used her superb acting skills to prove convincingly: a middle-aged woman who is bloated, exhausted, depressed, persistent and powerful can still shine, and that people can be destroyed but not defeated.
I deeply regret the moment my young partner was hit by criminals without warning. That short but connected chat, the affectionate but unsatisfied kiss, had to come to an abrupt end with death. The male partner understands Mel's attachment to his profession, and also understands the escape and fragility behind her toughness, so he is willing to fight alongside her. To be honest, rather than watching two people fall in love, I like to see them explore together as a tacit partner. Human relationships that are stripped of sexual attraction (possession, jealousy, control...) are obviously more flexible and free. Thankfully, the time spent being dazzled by hormones is only a short moment in a long life, at most a few months, not more than a year.
However, the love of young people is often strong, and it may be difficult for Mel to devote himself to an over-concentrated love affair. After all, love is no longer the focus of her life. Having experienced the bereavement of fathers, children, divorce, and witnessing vicious crimes for many years, at this moment, she probably only wants to protect the relatives and friends around her, maintain the peace of the community loyally, and deal with the mess and thunder at any time. In life, you have to lick your wounds quietly when you have time. In this way, male writers who are also middle-aged are more suitable partners—not to be entangled, know how to measure, and leave plenty of time and space for each other.
At the same time, rugged brotherhood was replaced by delicate female friendship. Women’s friendship has been misunderstood for too long and too long. It is not a plastic sisterhood, nor does it seldom stage a dog-blood plot like fire-proof, anti-theft and anti-girlfriend. It is women’s deep understanding and empathy for each other’s situation, which is warm and lasting in a tired life. support. Whether it was Mel leaning her head on her friend's shoulders after her suspension, the two sitting silently in the woods, or ending her friend leaning in Mel’s arms and crying, or the estranged old friend in the supermarket for Mei who was provoked by a man. You back... all portray the deep and silent texture of female friendship. In contrast, the experience of kissing and going to bed with the opposite sex is more like animal instinct. There is a kind of geese that passes by without leaving a mark.
The scene that broke my tears was from the last episode. In the dining room, the mother, Mel, and daughter sat at each other. After an understatement of apology, there was a sudden cry. The reconciliation between the mother and Mel was unexpected and reasonable. At that moment, deep empathy was realized between the three generations of women. I like the image of Mel’s mother very much. She is kind, humorous, understands the world, and understands herself. When she was young, she worked so hard and her husband was depressed and couldn't help at all, so that she often vented her anger at her daughter. Such as this year, she worked hard to help Mel take care of her great-grandson, hoping that Mel would have less worries about the future. She not only has a harmonious relationship with Mel’s ex-husband, but also helps Mel repair the relationship with her great-grandson mother; she knows right from wrong and will call Mel stupid when she framed her great-grandson mother in order to gain custody. The most funny thing is the moment when Mel's mother was accused by the husband of the deceased old lady as the object of derailment in full view, the mother and daughter were embarrassed from the sky. On the way back, Mel burst into laughter, and the shame instantly turned into a relieved joke. He responded to Elizabeth's dad’s wise saying in "Pride and Prejudice": "Life is alive, in addition to making people make jokes, I look back and make fun of others. , What else does it mean?"
Saying that the three generations of Mel’s mother and daughter lived together and enjoyed themselves well, isn’t it because the family finally lost the man who was always troublesome? Think about it, the murder that runs through the whole drama is actually a tragedy caused by a broken man and a derailment. The culprit is the idiot man who has repeatedly derailed, hurt his wife and children, tried to get his brother to pay for himself, and finally threw his illegitimate child to his wife to raise him. The girls became mothers at a young age, and the father of the child was either dead, hiding or missing, leaving them to raise their young children alone. No money, no skills, no family, in order to feed their children, they either sell their physical strength or their flesh-the foreseeable future is deserted and desperate.
As the background of the whole story, Dongcheng is unforgettable. Teenagers who use drugs and prostitution, divorced families and teenage mothers, the ubiquitous theft, robbery and murder...all show the profound impact of economic decline in the rust zone. The collapse of the big environment will inevitably lead to the collapse of the small environment. Only a few lucky people have the opportunity to break free and escape, such as the author of "The Elegy of the Country Folk," such as Mel's daughter. However, in hopelessness and pain, family affection and friendship still closely link people together, bringing hope of rebirth. People who have made mistakes, bad virtues, and scars are still struggling to survive, and will still burst out with kindness and love, helping others and saving themselves, forgiving others and reconciling themselves. In the warm background of the whole play (rather than the good wishes of the creator), we seem to have reason to believe that the children will live better than Mel and the others.
After finishing the play, I couldn't help but went to watch the movies made by Kate when he was young. She was so beautiful at that time, so beautiful that I couldn't ignore her skin-even as a feminist, I couldn't completely get rid of the gaze of women. This shows how deep-rooted the education we have received since childhood. Now I am very pleased that she is getting old, so old that the audience can no longer be distracted by her beauty, and then focus on admiring her vicissitudes of eyes, wrinkles in the corners of her eyes and the story behind her. "You were a young woman at that time. Compared to your face at that time, I love your face that has been devastated more." This sentence that exists in the imagination of the old Duras perfectly describes my feelings for Kate. Feel.
After watching some behind-the-scenes and other interviews, I didn't expect Kate to be so professional and dedicated. She said that the play was not filmed in chronological order. Due to conditions, it was sometimes necessary to film all the scenes in one scene at a time. For example, the scene in which Mel found out that his friend’s son was the real murderer in the surveillance was actually completed on the fourth day of filming, when Kate didn’t even know the little actor Cameron. However, with her familiarity with the script, understanding of the role, and rich experience in acting, she fully presented Mel’s complex mood at that moment: the shock and sadness when she discovered the real murderer, the unwillingness to hesitate when performing her duties, and when she faced friends. Guilt and heartache...
Kate also said that he and Mel are the same people. Once they decide what to do, they won’t be able to pull back the nine cows. Therefore, she often adjusts her character's words and actions (playing on the spot, adding or subtracting lines, etc.) based on her own understanding, and she has also worried about whether she will be too much of herself. But the screenwriter admits that sometimes Kate's understanding of the role is indeed better. And Kate herself is such a lively and funny woman. She talks about daily stubbornness and often dances when she is excited; but when she sinks into the role, the audience will forget the existence of Kate, both in this show and in "Ammonites" . I'm so happy that there is one more actress on the list of my favorite actresses.
Finally, I present a line from my favorite actress Christine in the second season of "London Life":
The menopause comes. The fucking menopause comes. It is the most wonderful fucking thing in the world! And, yes, your entire pelvic floor crumbles, but then you're free. No longer a slave, no longer a machine, with parts.
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