This film is quite breathtaking. What attracts people's attention is not only the chic shot of the dazzling female second with a fat ponytail, but also the strange love concept of people in Eastern European countries and regions.
What makes people feel more strange is that the male and female protagonists in the film, as well as the mother-in-law and the husband-in-law, both maintain an indecent love while maintaining their marriage. However, the film does not criticize or deny this kind of behavior that blatantly violates the traditional morality of the East and the American Puritanism. Even at the end of the film, except for the misfortune of the mother-in-law, the other three characters who kept the love of no matter got a good ending. What's even more bizarre is that the male protagonist's indecent behavior was perfectly covered up by his old husband, and the male protagonist's mistress was also fully accepted by his old husband. . .
I just thought, the child born by the second female should call the male lead brother-in-law? Or dad?
At first glance, this film is indeed quite strange. He goes against the education we have always received, which makes people feel uncomfortable in the bones (even though I really like the figure and appearance of the heroine and the second girl). But think about it carefully, some details of the film actually include the exploration of the philosophy of marriage, and even the perception of the mid-life crisis of men. Relatively deep.
At first, the male protagonist faced the unsustainable marriage brought about by the mid-life crisis. Work and career are at a bottleneck, and life has no passion. At this time, there are two modes in front of him (or the movie provides two modes). One is the way of getting along with the mother-in-law and the mother-in-law. Both have had extramarital affairs of their own, but in a way, the delicate balance of the marriage is maintained. The old man-in-law thought he was covering up everything, while the mother-in-law knew everything behind the scenes.
The film still holds a negative attitude towards this marriage model. Although the old husband and his mother-in-law maintain a superficial marriage. But marriage is practically dead. The old husband, who learned of his mother-in-law's car accident, missed his wife so much at the beginning because he was full of guilt towards his wife because of his extramarital affair. But when he knew that his wife was also indecent, this guilt disappeared.
In the end, the old man also used an incredible old and young match to take over the male protagonist's mistress, completely burying the memories of him and his deceased wife. Both of them wanted to hide from each other, but neither could hide it. The information between the old husband and the mother-in-law is completely symmetrical. And this is obviously not an ideal marriage model.
In the end, the core reason why the marriage between the male and the female lead can be attributed to harmony is that they have no insight into each other's love affairs. And the important reason that prompted them to return to their own family was not their responsibility to the family, but that they found the long-cherished love for each other in the love of their bed. Personally, I think this kind of expression is much more real than the way of singing slogans to return to the family.
However, the more magical attribute of this film is that the male protagonist suddenly obtains the kind of kung fu that makes his wife want to die through the second female, and this personal feeling is relatively rough.
Moreover, while shaping the situation of the two couples, the image of the second woman was also greatly damaged. Originally a stubborn girl who longed for love, was very assertive, and dared to love and hate. Later, in order to make the male protagonist a beautiful girl In the happy ending, she turned into a little slut who can't do without a man. . . I don't like this setting.
View more about Men in Hope reviews
