The problem girl is rescued by the elderly over half a hundred years old, not only in physical uniform, but also in spiritual surrender. When choosing to live with this old man, Herb's third (or second) wife killed herself with a gun. This again caused a deep sense of guilt in Pippa's spirit.
Looking back at Pippa's first half of his life, he was spent in a deep sense of guilt. This is why Pippa, after discovering that his girlfriend and husband had an affair, instead of becoming hysterical, he seemed relieved. Because she unloaded one burden, one that carried the burden of the entire first half of her life. She no longer needs to feel guilty for others. From then on, it was others who felt guilty for her, and she was finally relieved.
For Pippa, Herb is the beginning of self-salvation. She hopes to continue Herb's old age, wisdom, tolerance and humor, and return to a normal life track. Say goodbye to chaotic youth, so as to bury unhappy young people's memories. She worked hard to become a qualified housewife, and worked hard to act as a generous, decent and wise wife and mother in a middle-class intellectual family. In the opening scene of the film, a happy family gathering of intellectuals tells us that all these beautiful family gatherings, as we first saw them, can only become superficial surfaces, and become a deliberate creation for the meaning of life. from.
But no one is the redeemer of anyone. Herb has a fear of aging. He tried to invigorate the tiredness of the old age by falling into the river of love with women and resist the pace of decline. Pippa’s daughter is full of misunderstanding and resentment towards her mother. She always runs on the road, and gains the motivation to support her life by shooting fast and traveling through the dangers of battlefields. Everyone is racing fast on their own track, and everyone is persuading themselves to accept such a life: we are running fast because of this in order to gain meaning and happiness-although many people are lost and lost in the gallop. . Pippa’s son seems to be able to appreciate the harm his father’s betrayal to his mother has done to his mother, but he does not understand his mother as much as his daughter. At the last moment, it is the daughter who understands that Pippa’s departure is a real return.
Pippa’s somnambulism is a typical self-release. Unconsciously, she sits on the floor in the kitchen, stuffing cakes in her mouth, and chocolate paste is everywhere. During her unconscious sleepwalking, she wore her pajamas and walked barefoot a long way to buy cigarettes in a convenience store. Chris awakened her and drove her back in the dim light of dawn. At that moment, this middle-aged woman, wearing a white nightdress and barefoot on the icy road, completely faded away all the roles that she had to bear in the daytime, and returned to a lonely, helpless, and frightened woman like a bird. Pippa in daylight life and Pippa in the night are divided, just like every individual in our real life, imprisoned in a normal and standard life cage, driving on a normal track, and striving to become a life requirement The character we have become, and we in the night, like Pippa under somnambulism, become wandering souls.
Chris played by Pippa and Keanu Reeves is the shadow of two photographs of each other. The moment Chris helped Pippa reach climax with his hand, Pippa cried bitterly. It triggered the burst of all efforts to maintain peace and beauty on the surface, and it turned all of Pippa's past into shattered tiles. If it is the climax of this moment that makes Pippa determined to find himself, I am afraid that this is too funny and frivolous. This has nothing to do with orgasm, and it has nothing to do with sex.
This is a very good script, a good narrative. Although it is about a middle-aged crisis, it points to the lives of all people. You have to ask yourself: Is my life good enough now? Is it what I want? Will I be on the verge of collapse someday because I can't bear this huge internal and external driving force?
As the starring, director and screenwriter of the film, Rebecca Miller has insight into something more profound after the midlife crisis. Perhaps what middle-aged people are afraid of is not the disappearance of their passion for life. What they face is also what everyone may face. Are we all pretend to be we are in life? However, none of us know when the collapse may occur.
2-13 edited
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