The most impressive groups are as follows:
1. The couple's two-window drama.
The first time the female protagonist "sings" with the music in the window, the male protagonist shakes his shoulders with the rhythm outside the window, and then the fingers on the window interact, and finally the male protagonist walks into the house. My understanding of this scene is that even though the male and female protagonists have many inconsistencies in their lives, they are still willing to be close to each other in their hearts. The male protagonist can even look at the female protagonist's mouth shape to know which song is and what rhythm, and take the initiative to walk into the house to hug the female protagonist.
The second time was when the hero and heroine spread everything out and made it clear, the heroine sat in the window and watched the hero cry, but the hero told her to leave bravely.
The purpose of these two groups of play directors using the medium of "window" is simple - there has always been a gap between the two. It's just that the male protagonist was willing to take the initiative to cross the gap in the first set of scenes. In the second set of scenes, both of them gave up their willingness to take the initiative to cross the estrangement, so they could only separate.
2. The metaphor of the swimming pool.
The ambiguity between the heroine and the second man is really beautiful and subtle. Before the heroine confessed to her husband, they only had flirting in the bar and a breakthrough in the swimming pool. The female director knows very well what it means to be "hesitant to talk": the two seem to be constantly entangled in close proximity, just like their relationship, trying to restrain but still constantly wanting to get closer. In the end, the male second caught the female protagonist's ankle in the water, and the unspoken ambiguity was punctured, and the female protagonist left in anger.
In just such a scene, the inner entanglement of the heroine and the hesitation of the two of them to talk about it are clear at a glance.
3. Two scenes in the playground.
In the first group, the heroine and the second man went to play a scrambles cart similar to a coffee cup. The two slowly approached with the rotation and music, and their expressions and atmosphere finally relaxed from their tense state. But just when the audience was about to get into the mood of the people in the play, the music stopped and the playground lights were on. This passage can be interpreted as the heroine's self-deception mentality must be sober after all, just like scrambles cart is fun, it still has to stop when the time is up.
The second group is at the end of the whole film, the heroine goes to play the scrambles cart alone. Her intoxicated look isn't about reliving the feeling of being with the second male lead in the first set of funfair scenes, I think she's just missing that passion after life was once again deadlocked.
The scenes of the playground are all matched with Video Killed the Radio Star, and the meaning of this scene will be discussed later.
4. The rotating long shot of the heroine and the second man living together.
Personally, I think the plot of this "film" is very thoughtful and clever. In the first few laps, the heroine and the second man slowly approached and kissed each other, pointing to the process in which the two of them were slowly attracted to each other; after the camera moved out of the occluder, the two entered the sex relationship, and from this rotation, each time they moved out The occluders all show the change in the relationship and status of the two people - at first it was two people's sex, then it became two women and one man, then two men and one woman, and the whole group of rotating long shots ended with two people sitting on the sofa Watch TV, just like any old married couple. This scene is not intended to illustrate the special hobbies of the two people, but to reveal that after their relationship enters a normal state, they will become tired and need to find new stimuli to activate. After changing all kinds of usable freshness, inevitably, the two of them also entered the state of post-marriage tiredness that the heroine was deeply immersed in.
This long rotating shot is accompanied by an old song called #Take This Waltz#, and the method of rotating the lens is also very waltz-like on-site. It is said that this group of rotating long shots is thoughtful, precisely because it uses the lens and music to point out the theme of the film - "New things are shining, new things get old". (This line comes from the bathhouse scene in the middle, a group of married women are complaining about the death of life. Everyone else knows what marriage is all about, only the heroine has a fantasy and turns to another passion, and finally the sister-in-law asks The selfishness of the female protagonist comes from the foreshadowing of the bathhouse drama. It is no longer stated here, but you should feel it when you watch it.)
Is the relationship between the female protagonist and the male protagonist really hopeless? I can't see it.
The male protagonist takes the initiative to flirt and take the initiative to do some little romance to maintain the relationship between the two. me outside). It should be said that the breakdown of the relationship between the two is mainly due to the dissatisfaction of the heroine: she believes that the hero must satisfy her when she asks for it, and she feels that there should be a lot of topics on the fifth wedding anniversary of the two people, otherwise they will go out to eat It doesn't make sense at all, she thinks such a married life is boring anyway. So she left her husband and chose the second male. In the end, she, like the second male, inevitably entered a dull and uninteresting cycle of death. She began to be dissatisfied again, so at the end of the movie, she went to play the scrambles cart in the playground alone, with an expression of indulging in it.
The director's mind is just like the two important episodes in the film: the scrambles cart is very exciting, the music #Video Killed the Radio Star# has a strong and hot rhythm, but no matter how fast and passionate the music is, it will eventually turn on and stop; #Take This Waltz# and waltz dance are beautiful and leisurely, maybe the plain is the truth of life.
Or the director wants to say, not just marriage, but everything.
The female director is very good at controlling the subtle emotional changes of the characters. The two relationships between the three and the alcoholic sister-in-law are all shot with an alternative cruelty behind the emotional lens. The color arrangement of the interior scenes has a visual impact, while the rare exterior scenes are fresh and soft. The disadvantage is that the flaky narrative is still too scattered and lacks a kind of cohesion, resulting in the overall dullness and longevity. But this shortcoming is not too much to look at in a literary film.
#Take This Waltz# and #Video Killed the Radio Star# are very, very, very nice, and I was going to give them four stars for those qualities.
But the role of the male protagonist is less than that of the male lead, and 1 star is deducted!
snort! ! !
View more about Take This Waltz reviews
