This dignified film with a hint of bitter joy is classified as a comedy. Although some are labeled as "black comedy", it is still somewhat confusing, at least I think so. Some film critics and propaganda rank it with films such as "A Pear Blossom Presses Begonia", "Forbidden Fruit" and "Old Boy", and call it an "incest film". I don't think it can be said that there is no suspicion of bluffing the box office. The beginning of the film is to depict the incestuous lust of the mother and son, in the scene where the two of them roll naked on the bed, but after the momentary moment, you can't see the undisguised sensuality of the **, nor the The humiliation of mother and son and the contempt of others are chaotic and often violated the sense of human relations that arouse the audience. The audience is more of sympathy and pity for the numbness that Bobby's abnormal life brings to him, which he himself does not know about.
The film still adds comedy and humor from time to time. For example, Bobby cut his own hair and glued syrup to his cheek to learn from his father; Bobby learned the tone of the woman in front of him, and told the waiter to buy a cake word for word; The girl with 36C breasts said solemnly: Your tits are too small. There are quite a few such humorous factors in the whole film, but after watching it, we just can't laugh, and after knowing it, there are more sorrows.
The tone of the whole film is obviously clear: dark and deep night, bright and neutral daytime, neon and ambiguous night city. The transition of tones matches the ups and downs of the characters' hearts, natural but not artificial, deliberate and not rigid. When the wounded Baby was sitting unkempt on the floor of the hut, with his back against the gray and stained wall, a few irregular spots like the kind of light spots formed by the edge of the light passing through some messy gaps, randomly sprinkled on the The room, walls, and body were weak and slightly dirty. This light is not only not warm, but also exudes loneliness and sadness. The white line of the final shape of the deceased outlined by the police on the ground brought the audience back to the beginning of the film. Barbie sits helplessly and tiredly on the white line, making you feel the interweaving of the living and the dead across time and space. Only his mother had beaten and scolded him constantly, and had incestuously overwhelmed him, but at this moment, all the slapstick and lewdness of his mother in the past were gone. The white line outlined was the last physical contact between Bobby and his mother, and the last ray of warmth that Bobby could feel from his mother. At this time, the camera zoomed in, and Bobby's eyes were chaotic and full of sadness and kindness. A deep guttural voice sounded intermittently: tell you a story, sad but true. Tell you a story, someone you know, Bad Boy Bubby, Bad Boy Bubby…. Then the rock sounded. This section is sour and heart-wrenching, and the next Barbie's laughter is the Xipi Adagio of your tears .
Bobby is like a mirror, innocently reflecting what he sees, but angering the reflected world. Rolf de Heer tries to create a new meaning for innocence from the grotesque, so that the film is full of provocative interest from the image to the spirit, and at the same time, the bizarre tragic solemnity is poured out.
