It's not love the dust, it seems to be mistaken by the front, the flowers bloom from time.
After watching this movie, I always have a sense of deja vu while admiring it.
I even suspect that the 2019 Palme d’Or movie "Parasite" borrowed from this 1961 Palme d’Or film. The two films with a huge gap between the two generations have similar plot designs: the same is a place where the poor help the rich. Live in the rich man’s villa, eat, drink and have fun, and make a big fuss; the same poor side tries to kill the rich. But obviously, director Feng Junhao intends to explore the gap between rich and poor, while Buñuel wants to explore the essence of human nature .
The story of the movie reminds me of Bergman’s "Virgin Spring" in the same period. The two master directors both focused on the innocent and kind of the rich but the destruction, and the evil nature of the poor. The starting point of the two The similarity and the very different styles once again prove the orderly flow of art but the colorful charm.
The existence of the heroine Veridiana has obviously surpassed the connotation of the role itself and has a certain symbolic meaning. Even when it comes to character handling, I feel that many of the techniques used by Bunuel come from the freehand brushwork and foreshadowing of the Eastern style . This reminds me of the great director Ang Lee.
Veridiana is not a ruthless woman, but she shows restraint, indifference and abstinence that are not in line with her age, which is actually not unrelated to her tragic experience. From the description at the beginning of the film, it is not difficult to find that her parents have died since childhood, and she was fostered in the monastery by her only relative, uncle, and had only met her uncle once. The uncle is another infatuated man who has lost his beloved wife and lives alone. He is also a man who has fallen into the world. The second meeting between the two is simply inevitable by accident. When the two met, the director showed his uncle's emotions positively. The ups and downs, but in the background of the screen, the sprouting of Velidia's heart is also visibly expressed.
Spring is blooming, and a feeling of bright and beautiful spring is about to emerge. Isn't this a common method in ancient poems for "borrowing scenes to express emotions", but also a common technique in Ang Lee's movies.
The following abrupt scenes, naked thighs and holding the breast of a cow, all hinted at Velityanna's erotic desires.
What is even more surprising is that one of the props in this movie, skipping rope, appears repeatedly, but it is a very important foreshadowing by the director. This is similar to the writing technique of "A Dream of Red Mansions". People can't help but sigh with the exquisite technique of the works of such a surrealist master as Buñuel.
In fact, putting aside ethics, my uncle is really an infatuated man, and living with him is a good life choice.
After the great opening and closing, Velityina finally spread her hair and fell completely into the red dust. I think she is very similar to the wonderful jade character in "A Dream of Red Mansions", and her life trajectory is also coincident. After Miaoyu’s verdict, "If you want to be clean, you can never be clean. Clouds and sky may not be empty. Poor quality of gold and jade, and finally sinks in the mud. "
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