When he first met you, he didn't have time to think about it, and after half a lifetime, he still said the same thing

Cleve 2022-09-29 10:10:16

Sebastian and Julia's One and Two Sides Charles often looks at Sebastian with a shy look, and his hard lines are innocent and soft. Since the first sight of S in Oxford, his eyes have been glued to him uncontrollably, with a smile and a longing. Even if there is no understanding of his little eccentricity - love and yearning still can't stop overflowing from the bottom of his eyes. S is the "prologue" of C, bringing the first fresh color in his cold and restrained life. Therefore, he imitates him, cherishes him, and protects him—C is almost unprincipled and accommodating in his dealings with S. Cousin accuses him of spending too much money, and he sarcastically retorts (and most of that money 'was spent on or with him'); S cheated on him that he was seriously ill, and he was annoyed that he was being teased about his true feelings, but... ...Look at Uncle Tie's tender eyes later. Until S was drinking heavily, the soft-hearted C still gave him money when he knew that he would run away, covered up the embarrassing fact that he was with Kurt, and one by one, he always defended the young master better than everyone else. The same is true when there is an Anthony by his side who clearly points out S's weakness and warns C. In that little "confrontation" between Anthony and Sebastian, what did Anthony have? A pertinent and well-arranged tirade, he understands S, hits the nail on the head for S's weakness, and confronts C's hesitation and hesitation step by step. And what about S? Confused. By the time he was alert, more than half of C's questioning of him had already begun. He was defenseless, all relying on a group of innocence and natural charm - but miraculously pulled back halfway. Fair and objective? nonexistent. Charles was always partial, and he couldn't bear to believe Sebastian's plight. In the face of J, C is obviously full of tenderness. If the tenderness of S and C is the camellias in the hazy morning mist, the first spring and the first breeze that flow from the sky to the world, and the return of the soul as a baby in the gentle moonlight, then C and J are lonely exiles They identify their companions, and cross the remaining thoughts of the world on the ocean floor where oxygen is thin. When C really realized J's existence, both of them had been injured. C has ten years of dead silence, behind J is a painful twisted marriage. So their love is more like saving each other, they are broken and weary, and the encounter makes them whole. They fell in love with each other, in order to resist the turbulent world and escape the sadness of their years. C and S are instincts, and C and J are reluctance. S means that the love affair of a young man comes to grief. When you get drunk, you don’t know that heaven is in the water. J means that heaven and earth are the furnace. All beings are tormented, and sinners are greedy. C will never externalize his love for S to the level of "sex". And when the female S-Julia appears, this kind of love is no longer taboo, but can be a matter of course. I will never forget J asking C why he married his current wife. C replied "Maybe because of loneliness. Because of the loss of Sebastian." J was silent and understood. I can't help but wonder if this reason, besides "everyone says she is the best wife of the painter", is also out of self-protection? In its relationship with S, S is the Fallen and the source of light. C is burnt while getting the euphoria, and he needs time to shy away from his emotions. Charles may have fallen in love with Sebastian at first sight, but it was only in the years between them that he slowly began to understand S. And it would be a long, long time before he could understand how much that love had in his life. he loves you. When he first met, he didn't have time to think about it, and after half a lifetime, he still told it like this. 2 The whole film, with British-style alienation and restraint, watched the pain and decline of the huge family until it slowly left the scene. Religion, even if its doctrine is perfect, often leads to destruction. However, it is useful. There is a god in a corner where love can't reach. S's coldness and restraint, C's ego and fragility, naturally bear the imprint of the original family. They both love themselves, C is the calmness of an adult, and S is the instinct of a child. 3 This world is fit for atonement, and the daffodils are in Eden.

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