The tragic ending turns the story into a beautiful fairy tale. What would happen if the heroine hadn't gone to death? Under the gap of "experience from prostitutes", the emotional foundation of love at first sight is too thin.
When I saw the heroine go to sea, I was thinking, if I were a screenwriter, I would arrange for the heroine to commit suicide. After all, this stain was too painful in that era, and only by letting the heroine sacrifice herself for the purity of love can this stain become a more noble existence. as predicted.
I think of Zhou Puyuan's feelings for Lu Shiping. Does Mr. Zhou love Lu Shiping? He doesn't love him at all—just because he doesn't love him, he doesn't want Lu to come back alive. Lu only needs to exist in memory as a symbol of love. The self-movement formed by the short-lived love segment under the continuous beautification of memories was enough for him to spend the rest of his life.
Let's re-watch the beginning of the film: Roy stands on the bridge holding Mara's pendant in memory of her, falling into memory, and the story begins. ——This is too similar to Zhou Puyuan and Lu Shiping!
Here I am randomly opening a brain hole: what if the whole story was narrated by Roy as the first person and from a male perspective?
"I have a high status but I fell in love with a dancer with a low status. I really wanted to marry her, but the war separated us. She lost her job to meet me. I died so I became a prostitute. Although I didn't despise her, she didn't want to drag me down. In the end, she died. In her heart, her chastity will always be left to me. She is the love of my life, and I will never forget her. "
Isn't this interpretation a bit off-putting? But this is also the reason why it is difficult for me to hit: the heroine has paid and lost too much, and compared with the male hero, it is too unbalanced. The only thing the male protagonist pays is the rush to get engaged, money (which his family lacks the most), and the possibility of dying on the battlefield (but he is an officer in the first place), but the suffering part of this love is almost all by the female protagonist undertake.
And look at the image of the heroine: beauty, infatuation, there seems to be nothing else, the image is too thin, in other words: too much like an instrumental female character that satisfies the male gaze.
This can explain a series of "intellectual" behaviors of the heroine: returning the rose from Roy can at least make her and her best friend have a full meal, and tell Roy that her situation can also make her better, but she I don't want to tarnish my love for Roy. On the contrary, the shaping of this kind of personality is beneficial to the self-feeling of men.
When Mara mistakenly thought that Roy was dead, why would she rather babble insanely than explain it to Roy's mother? In addition to "too infatuated", I offer a speculative explanation, is it possible that this is some kind of excuse from Roy: "She treated my mother like this, and my mother didn't embarrass her in the end! All this is our family. Everything was done beyond reproach.”
In other words, this question is not so important, because in the imagination and obscenity of the recaller, the shaping of the character does not need to be so perfect.
After all: "The task of flowers is beauty." ——Lin Yilian's "Chauvin" ————The dividing line—————— The above is just my interpretation of the dark version, I just feel that the structure from another angle is "noble" "Love" is interesting, no offense to the viewers who were moved by the story. But it is true that it is very difficult for me to be moved to tears by this movie, on the contrary, I feel so heavy. Mourning his misfortune.
I always feel that when a story character is seriously masked, it is only a matter of thought whether you are willing to pay for the deep affection and touching created by the movie. The tragedy of modern love may be that we gradually become unbelieving in some things. Perhaps the director's beautiful shaping of this illusory is also to make the audience regain their faith in love.
Although movies from decades ago can't be demanding, I still hope that the screen's portrayal of "affectionate female characters" will not be so instrumental. There are also characters that are a bit thin, a dancer and an officer, and the storyline can be roughly guessed as soon as the identity comes out. Therefore, the movie needs a more complex personality apart from identity. For example, the portrayal of the second female is very exciting. She is loyal, decisive, and brave. She can be called the heroine of this film in my mind.
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