Such novel material is handed over to Nick. Nick Hornby seems to have it in his hands. Hongbi, who is also a novelist, has twice in the past selected works featuring women as the protagonists to be adapted into screenplays, and has created distinct and three-dimensional roles to allow actors to reach their full potential. Whether it's Kelly in "Ladies Education" (An Education, 2009). Carey Mulligan is also the Rhys Brown of Wild, 2014. Reese Witherspoon has been widely recognized by awards and reviews for her superb performance; of course, Saxue Witherspoon of "Love in a Land". Saoirse Ronan is no exception. Sarah, whose parents are Irish and grew up in Ireland. Ronan, who believes that this is the film she has ever acted in the closest to herself, and the final performance also made Hongbi and director John. Crowley (John Crowley) is full of praise, as if the role of Alice exists for her.
Back to the movie itself. The story begins in the gloomy and gloomy town of Enniscorthy (Enniscorthy) in southeastern Ireland, which is like a "confined space", where all you can see are Irish people who were born, grew up, and even died in Ireland. It is very pure. A simple environment makes people more closely related to each other. The whole society seems to be a large group. It is not a secret who is used to doing things at what time or who is friendly with whom. Such interactions are intimate, yet suffocating; however, only if you recognize yourself as an individual—independent. In such a situation, Alice had no choice but to obey. Although she resigns directly to Mrs. Kelly (Brid Brennan) soon after the film, don't forget that it was the painstaking plan of her sister Rose (Fiona Glascott), not Alice's free will. . Looking back now, Ruosi, who did not have a lot of roles, is actually a key character, and she is also the first person (a woman) who has "self-consciousness" in the film. Unfortunately, due to physical factors such as physical health, I can only let Alice replace it. She practices.
Compared with Ireland, Brooklyn, an immigrant society, is an "open space" where diversity coexists. People here come from all over the world, with mixed ethnicities and backgrounds; more importantly, Brooklyn offers opportunities to work and learn. Perhaps deliberately, Ireland and Brooklyn are like two completely different worlds, and everything happens to be in contrast, for example: Mrs. Kelly in Ireland is mean and cunning, while Brooklyn's department store executive Fontini (Jessica Paré) ) gentle and considerate; Irish people change their bathing suits on the beach, while Brooklynites wear their bathing suits under their coats first. All in all, the blue customs gate with white light seemed to foretell that Brooklyn was a paradise for everything, and even the sour words between roommates only sounded amusing. Therefore, although Alice was trapped in homesickness at the beginning, she was still smooth sailing, such as her career, schoolwork, and love. Not only that, but Brooklyn is a symbol of progress (civilization). When Alice returned to Ireland for some reason, her old friends frequently asked her what they had seen and heard, and the first attention was the skyscrapers. It's a pity that Alice never paid too much attention to those novelties, and of course the main axis of the story is not there. As mentioned in the previous paragraph, Alice's self-consciousness is the focus, and Brooklyn's social characteristics are the perfect space to trigger self-consciousness; in other words, "Love Is Away" is a story of a woman growing up.
Just like Jim (Domhnall Gleeson), who inherited his father's mansion, the Irish town in the film still has a strong patriarchal atmosphere. Women can only hope to find a good family as soon as possible, and there is not much room for personal development. Alice, who is in the middle, naturally echoes the control of the patriarchy, and is a "locked" body: the clothes are simple and harmless, and she is a virgin. Alice is like a typical heroine in romance novels, and Brooklyn is the character who guides her latent desire/consciousness and makes it grow. When Alice first arrives in Brooklyn, there are occasional images of her looking in the mirror; it's a mark to watch. The French psychoanalyst Jacques Lacan (1901-1981) once put forward the theory of the "mirror phase", which he believed was an important period for establishing a self-concept, through which one could recognize oneself as an autonomous existence. It can be seen that during this period, Alice looked through the mirror repeatedly, and the subjectivity of the self was gradually established. However, in traditional viewing relationships, women are often the objects of "seen", even in the more liberal Brooklyn. Therefore, when Alice is invited by Tony (Emory Cohen) to go to the beach for a vacation, the roommates and supervisors put forward all kinds of clothing suggestions to cater to the man's eyes, and Tony's whistle is the best proof.
It is not until the middle and later parts of the story that Alice really establishes her subjectivity as a "person". The first is the display of passion/lust. After Tony said "I love you", Alice did not respond immediately, but took a while to bring up the matter and confessed to Tony clearly. I think, therefore I am, and during this period, whether he hesitated or thought, only one thing was proved: Alice's existence. After confirming the existence of the individual, Alice's next move is to regain her initiative. Tony sent Alice back to the house many times, but the two only said goodbye at the door. "locked" body). This move not only broke the layers of taboos, but Alice also took the initiative to reveal her desires, flipping women's original position of being seen/desired.
But the most important thing is the choice and decision at the end of the film, which is a complete self-practice. After returning to Ireland, Alice not only met Jim, but fell in love with him, and the two reenacted almost all of her interactions with Tony from scratch, including eating, dancing, and meeting family members. The development of the two parts before and after is equal, making it difficult for the audience to grasp Alice's thoughts, in order to highlight Alice's hesitation, and the final choice will be more important. Some would think that Alice made her decision hastily because Mrs. Kelly exposed the fact that she was married. In fact, when Alice stopped cowardly and retreated and stood up to defend herself in anger, Alice was no longer the Alice in the past; the sentence "My name is Fiorello (Tony Italian surname)” is a powerful expression of self-will. So, although her sister is no longer alive, Ireland is still the same Ireland, and the result is obvious what Alice will choose after the transformation.
Alice's choice also brings up another issue for the story: what is the so-called "home"? Ireland is where Alice was born and where her mother lives; Brooklyn allows Alice to find the main body of "human", giving her a new life, and is also where Tony lives and lives. On a passenger ship bound for the United States, Alice has an intriguing conversation with another Irish girl, she said: "Brooklyn is like home." Maybe home is where the heart is. It seems that Alice's transformation has unintentionally loosened the traditional imagination and definition of "home".
Like Alice, critics often point out that the female characters in Tobin's writings are deeply feminist, but Tobin thinks that it is not so much "feminism" as how a woman faces society and how she behaves in society. survive in. Alice, who grew up in the 1950s, may have benefited from the efforts of the first wave of feminism, but the film does not deliberately emphasize this social background. There is affection, there is love, and of course there is confusion. Her growth, her self-awareness, and her transformation were all changes that occurred naturally in response to these life issues. If her actions really reverse any traditional values, it just shows that life is politics, and every "woman" is part of the movement.
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