For a long time, I have always maintained a tolerant attitude towards British dramas, because most dramas tend to adhere to the inherent introverted characteristics of British classics. Even if the meaning is profound, the narrative is inevitably rigid, and the plot design is not bold enough. Of course, since the beginning of "Sherlock Detective", there has been a breakthrough in the tendency of classic narrative. Perhaps "Doctor Foster" is another success of British dramas. In fact, you can feel the charm of the film from the title of each episode. The opening music is full of modernity and sense of substitution. The opening scene shows personal items surfaced one by one, which vividly hints at the direction of the plot. At this time, the melody is also layered. Progressive, the music and picture editing complement each other, fully showing the suspenseful meaning of the series, and firmly attracting the audience from the beginning.
Of course, the real beauty of the story lies in the design of the characters and plot, whether it's Foster, her husband, a third party, or those sanctimonious friends and relatives.
At first, I didn't care about Foster's status as a doctor, but after the whole episode ended, especially when she ended up saving lives on the street at the end, I suddenly felt that this was a story about self-rescue. She has been a doctor for many years, constantly treating other people's diseases, but it is her own family who is really ill. She never knew about it, until she noticed it, and then she was patient and tolerant, and finally broke with madness. Isn't this series of attitude changes just the normal response of each of us to the pain? When everything seems to be healthy, it may be the time when the disease is attacking; when there are signs of the disease, we will be suspicious, but we can’t believe it; when we feel temporarily paralyzed and there is still room for manoeuvre, we tend to ignore all the bad omens, Consistent with the status quo with conservative treatment; and when the situation deteriorates, we will reluctantly give up and fall into pain. In a family crisis, Foster is like this. She lost the calmness of a doctor, and turned into an ordinary person who is just as indistinguishable as we are, allowing her emotions to drive her own judgment, thinking that she is in the reality again and again. It was denied, and it was only when he finally committed suicide by throwing himself into the sea that he was on the verge of suffocation, and then he realized that he was reborn and regained his professional calm.
Before and after Foster's suicide, there were completely different changes. Before committing suicide, she was helpless, lonely, and hesitant. Everything she did was out of tolerance for her lover, compromise for her family, and salvation for her family. She only hoped to be able to return to the ideal state. For this reason, she is willing to bear all the pain silently by herself. At this time, she is a pitiful weak person; after suicide, she is calm, independent, and decisive. The compensation for the loss and the revenge of the betrayal, she only longs for all those who have hurt her to get the punishment they deserve. For this, she does not hesitate to hurt the innocent and use any means. At this time, she is a terrifying powerhouse. But no matter the weak or the strong, she makes me deeply sympathize with the former because of her ignorance and the latter because of her ruthlessness. Her revenge method was obviously overkill, but thinking about it calmly, how could she save herself if she didn't?
Another novelty of this play lies in the discussion of the "original sin" of family crisis. It does not stagnate in the category of morality and ethics for open-ended discussion - this is often the inherent and unchanging routine of domestic family dramas - but returns to the The answer is found in the physiological needs of man as an animal - the inferiority of men. This answer is bold and unexpected, yet so reasonable. I think that both men and women deeply agree with it, but most of us are reluctant to admit it. The series also emphasizes the words and actions of various characters: such as Foster's female colleagues, her husband's mother, the next-door neighbor, the father of a third party, and even her own children. From this point of view, the moral of the TV series is not to eulogize the success of a female doctor in saving herself, but to reflect the futility of this rescue, not only that an originally harmonious family will not be reborn because of such a hysterical rescue, but also such a tragedy Always with each of us in our lives. Finally, when a third party bumped into Foster and told her that she would go to London with her ex-husband to live anew, I suddenly felt that the so-called "live again" was just the beginning of a new tragedy, because it became just a woman , What hasn't changed is that man. It is still difficult to eradicate the man's inferiority in the new family, but the next time he suffers, he is replaced by the original infatuation third party. Foster watched his ex-husband and the third party drive away without pain or relief, and there was a kind of numbness in his blurred eyes. Seeing this, I can't help but sigh: what the story finally tries to tell us is not how a woman should fight, nor how a man should be disciplined, but how helpless the human world is. Although we try to use morality and law to restrain those who do not Loyalty, but as long as the world is made up of men and women, and as long as we expect sex, fertility, material things, and family, then all of these are ultimately irreversible.
However, what is even more helpless is that even so, we still have to face the reality and continue to go back and forth in the process of losing and saving, in order to maintain this seemingly harmonious status quo, the paradox of the world of men and women will not have a final answer. Just as in the end, Dr. Foster gave first aid to a critically ill man on the side of the road, the story of betrayal will continue, and the pain and madness will never stop there!
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