From the very beginning of the film, she was unconsciously wary of Melanie. Her eyes were clear but bottomless, and her hair was golden and soft but unsteady. It kept me guessing what she was trying to do behind her shy smile.
After all, it is a French movie, the rhythm is slow but not depressing, and the suspenseful sunshine is bright. Consecutive moments of horror, the little girl when she failed the exam, with two lines of fast-drying tears on her face, suddenly closed the lid of the piano, decisively killing her dream of music.
I thought she abandoned the dark and turned to the light, and grew up again as a master next to the pianist she missed as a child. I thought she fell in love with the pianist and had a love-hate relationship. I thought that the gifted little boy could interpret surprises quite beautifully.
Later, Melanie Cello's vigorous attack reminded me that this little girl did not come to this family with good intentions. Whether it was deliberate or accidental, she is such a beautiful doll that cannot be violated, and she is deadly and silent. With a single blow, how could she let go of her past suspicions against the person who destroyed her dreams and hopes.
So she integrated into her life, made her rely on her to trust her, and fell in love with her carefully. Then, little by little, starting from her child, she slowly alienated her life, until she couldn't leave her, and resolutely left, leaving behind a little genius who could no longer play the piano with a muscle strain, and a child who was not functioning properly. An out-of-date pianist who lost her chance to perform forever, leaving behind a poor woman who was abandoned by her husband who discovered an affair.
She is still pure and beautiful like a doll in the morning, with a shy smile, away from it all.
View more about The Page Turner reviews
