1. Resistance. Although this line is very thin, it is the most important source of conflict in this "two-person movie" - the employment relationship creates obstacles: the employer's confession will appear hypocritical and domineering (Brother Eugenio hits the nail on the head); the employee's confession will appear like is for sale. So the two of them have been standing still, quietly testing. Eugenio refused Martin's kiss, and asked, "Is it because of those paintings?" It was probably an instinctive confusion when emotions came head-to-head (especially after listening to what his brother said), but he didn't want to give up But this became a slap in the face of Martin, accepting the gratitude accumulated in all aspects of food, clothing, housing and transportation, because of the failure of the initiative to attack, all transformed into an infinite sense of inferiority, nowhere to be ashamed.
2. Power. The common childhood memories are the introduction to breaking through the obstacles: swimming, shooting together, and revisiting the old places, pulling the two people's goodwill farther and farther. And the slideshow memory of "Two Pineapples" contains all the thoughts in silence, breaking through the last barrier. (Can you imagine any rhetoric that can explain more clearly than this without hurting feelings?) The process of finding, reviewing, and repairing the slides implies Eugenio's nostalgia for Martin and his love for the two of them. Recognition of qualitative change in relationships. (Does the last paragraph of ps remind you of Pride and Prejudice in 2005?)
3. Newton's eighth law: physical attraction. eg Eugenio's anxious look the next day; Martin's embarrassing blush when he was sitting in the car; As well as their respective tents and the blurred Tintin
employment relationship + childhood memories + mutual attraction - the ingenious thing about this combination is that both same-sex and opposite-sex audiences can resonate, but the story must only happen between two men. between. Just imagine the following situations:
1. Male employer + female employee: Strong or weak, it is more likely to be a vulgar overlord or a Manhattan maid-type chick flick;
2. Female employer + male employee: It seems that it should be more "white girl" Abandon class divisions and run away with black slaves" or an American theme or feminist story like Madame Bovary.
3. Female employer + female employee? : I can't think of it... (Let's go out and turn right to see Adela or the fingersmith.)
The soundtrack is quirky, but it complements the unique flavor of the film. The orchestral music (?) brings a retro, serious, exclusive feeling, covering the entire film like a sky, reconciling the greenness, heat and the possible frivolity of the flesh; the lack of catering instead highlights the emotional development of the two. More valuable and memorable.
The slightly oppressive and tense music in the first half seems to fit the employer's character and status (Eugenio's eyes always have a trace of nervousness and panic); the second half begins to appear soft and soulful, with a short piano accompaniment The finishing touch, more sunlight enters, as if the iceberg is melting.
The title is "Hawaii" with mottled labels on the slideshow, which seems to echo the isolated, serene and peaceful "fairy wonderland" created by the film. The relationship between the two men is based on the innocent childhood memories. Why does O'Henrior like Martin? I wonder if it is because of those deer-like eyes that he can abandon the burden of past experiences (throw away photo albums) and regain the sincerity and fearlessness of children (just like his novels)?
In short, this is a good movie with a small pattern, but it is worth savoring carefully. and god, I wanna be in a relationship!
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