Yellowed retro fashion and grotesquely humorous fantasy fairy tales, Wes Anderson is a big kid, and his style is the dream factory of childhood. You can see mature reflection in it, and you can also be fearless and brave. I like Wes because the child in my heart is always there. This is a story that happened on New Penzance Island, where two people meet unexpectedly, communicate with each other, and plan to travel far and wide together. Young lives long for emotional out-of-control to be understood, for adventure, and for growth. Half-baked eye makeup and a pipe are examples.
On the one hand, the director used the mouths of the police, instructors, parents, and Falcon Boy Scouts to even warn against growing up in a hurry, marriage is sacred, and the fruit of puppy love is green and immature. It's an interesting contrast, like the director's inner ambivalence, of escaping with the help of the Khaki Boy Scouts and unofficially concluding the wedding. There are countless possibilities for the beauty of youth, but unrealistic love makes people yearn for it. Sam paints a self-portrait of Susie, and Susie dances with Sam on the beach in a bikini, moving and sexy, and childish affection is precious. It is like a natural pearl, two unpleasant, maverick, deviant teenagers, warming each other and attracting each other, this is more like a revolutionary emotion of sympathy. Susie's parents were lying on the bed watching the tree shadow speak. I was moved here. They tolerated and understood each other, reached a consensus and assumed their due responsibilities. The world of adults belongs to adults, and the world of children belongs to children.
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