This film, he is really normal-except for the identity of "ghost".
In fact, I should have told Maimai long ago that "Truly Madly Deeply" will make "Human and Ghosts" look like a second-rate romance novel (although this is indeed its essence), just using ghosts as a gimmick. It is also about love at both ends of yin and yang, both ends in tragedy, and TMD (this is an abbreviation, I am also very helpless) made me shed tears at the end.
He died as soon as AR started. The black and white photos of his life were hung on the wall, playing the cello intently and staring at the still strings. And in another parallel space outside the photo, there is a woman missing him. The film took 27 minutes to describe her performance. She was still smiling, working as usual, and socializing with friends, but everyone could see that she was entangled in the shadow that had passed away, and she forced a smile. She finally cried and burst into tears at the psychiatrist. Holding the cello he left behind, gently as if holding his shoulders, sad and affectionate.
In fact, it is much simpler to turn all this into words. He has not left, or in her heart, he has never left, and his voice is full. Every time the footage of the film turns to his photos, or every time she casts her eyebrows in contemplation, the slow cello sounds. Then he came back, and the sound of piano and cello stopped abruptly. She was not afraid or surprised, just immersed in the ecstasy of reunion.
Many novels and movies have such a mediocre plot: someone misses a dead lover, and the latter can only say sourly that "no one can beat a dead person". In fact, the dead man himself is not good either. Because when he died, it had become a memory.
I always feel that he is the embodiment of her obsession, or it is her pain and love that made him return to the world. The nostalgia brought by death prevented her from leaving the old house, and her nostalgia prevented him from leaving her. Both people are imprisoned by each other, not because of bondage, but because of love.
The scene of two people lying on the window watching the clouds is very romantic. To me, it is far more beautiful and timeless than "making pottery with Demi Moore". In this part, the heroine said the name of the film: I love you truly deeply madly. Two people fight, ridicule each other, make each other's temper, a trivial and warm life, but she doesn't want to go out, prefers to guard him at home (this is also true for me, and he likes to change the floor to whatever Sample).
It's just yin and yang. He brought his ghost friends to watch movies at home, and changed the decoration of the house at random. No woman could bear this. The resentment that had accumulated for a long time broke out, and they had a big fight. But in fact, her most important turning point was not the ghost gatherings all night, but the birth of the Spanish woman. She held a newborn in her hand and tears filled her eyes. The film implies that what she needs is a new life, not the kind of "just like the old time" she has been satisfied with.
Love is a prisoner. They were sitting on two sections of the bare floor. He slowly recited a poem to her in broken Spanish:
If suddenly you do not exist,
If suddenly you no longer live,
I shall live on.
I do not dare ,
I do not dare to write it,
If you die.
I shall live on.
For where a man has no voice,
There shall be my voice.
Where blacks are flogged and beaten,
I cannot be dead.
When my brothers go to prison
I shall go with them.
When victory,
Not my victory,
But the great victory comes,
Even though I am mute I must speak;
I shall see it coming even though I am blind.
No, forgive me.
If you no longer live,
If you, beloved, my love,
If you have died,
All the leaves will fall on my breast,
It will rain on my soul night and day,
The snow will burn my heart,
I shall walk with frost and fire and death and snow,
My feet will want to walk to where you are sleeping,
But I shall stay alive,
Because above all things you wanted me indomitable,
And, my love, because you know that I am not only a man
But all mankind.
——"The Dead Woman", by Pablo Neruda
He will disappear only when she wants him to disappear. It turned out to return to the world just to give up the obsession of the previous life. Rats continue to appear in the house (rats are afraid of ghosts), and he no longer appears. She finally moved away, put the cello in the box, walked out of the old house, and walked out of the memories.
At the end of the movie, AR stood in front of the dark window, watched her kiss her new boyfriend, walked away, gently wiped the tears from the corner of her eyes with the back of her hand, and waved goodbye.
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