I love you but, If you love me, Love has limit. It shouldn't have.
At the beginning of the story we can see, it presents a small conflict between two lovers, and expresses the true meaning of love along the way.
Queen Anne owns seventeen rabbits. In this way, she commemorates her lost seventeen children. In addition to them, she also owns a magnificent and spacious bedroom. She was especially lonely in this room when no one came to see her. The rabbit is locked in a cage, and the doorman is just an object. Until I met my lover Sarah.
She truly loves S. She has written many emotional poems for her, put her country under the full control of her, and built a palace to send her to the stalls where the treasury is in short supply. Fortunately, S also loves her wholeheartedly. I love everything about her, including her physical and psychological defects, and she also loves her identity, diligently taking care of her troubled country. However, this 35mm film film was used almost exclusively to witness the end of the year-round love between the two of them as childhood sweethearts.
The fuse of the battle for the power of love is the maid played by Shishi. She was able to climb into the queen's luxurious double bed from the mud, it was inevitable by accident. The images in the movie are basically, ideal, cultural, beautiful and shameless. The beauty of the stone has been officially stamped from the moment of his appearance: when he goes out, he is either molested by a villager, or he is loved at first sight by the baron of the court. I personally think that the most beautiful scene of the stone in the movie is that she is bored with the queen's bedside, sitting in isolation in front of the wall with dragons and flowers. The camera is aimed at her intersecting fingers, then to the slender snow-white forearm, and finally makes her weakly presented against the huge and gorgeous background, becoming a part of this exquisite painting.
Nevertheless, Rachel's favorite S seems to be the darling of director Oggs. From the noble and domineering as a duchess on weekdays, to the sassy and heroic posture when riding horses and hunting, and even the casual charming with the queen in the early morning afterwards. Every close-up left to her makes the audience aware of it instantly, and only she is the soul and symbol of this huge palace.
The movie's name is Beloved, and it seems that the Queen's patron(s) should be determined. In fact, Queen Anne is more like Duchess S'darling. All I can say is that Oggs is both pessimistic and extremely humorous, and the queen is just a projection of two elements. The queen desires to have her own child, but she herself is a complete child. She doesn't care about national affairs. She lives by eating sweets and playing cards. She is jealous and easy to coax, kind and spiteful. She has only two expressions, laughing wantonly or bulging, and a calm face can only appear when she is sleepy.
One of the details is that Abigail seeks refuge from the Queen. The queen heard the sound and opened the door, and saw the stone sitting on the ground with her legs crossed, crying bitterly when she faced herself. At first glance, I don’t understand: How can this ugly look attract the Queen’s mercy? Thinking about it later, maybe the queen here didn't help out because she liked it, but the deeper reason was sympathy. Doesn't her frustration and crying look exactly the same as her own? And every time the lover sees himself like this, he doesn't give gentle comfort, only sharp lessons. From that moment, the meaning of Abigail in Anne's mind was no longer just a tool for recreation, but also of the same kind. It seems to have everything, but being loved is everything Anne has been desperate for.
In the eyes of others, S uses the queen to get to the top of power. In my opinion, S is just borrowing the given power to love her heartily. The disparity between the queen and S has become the crux of her troubles in love and tricks. The opening dialogue became a footnote that the close relationship between the two has gone from being solid to broken. True love should have no limits, why can't you love me enough?
Of course the ending will not be good. Oggs’s view of love can be glimpsed from "Lobster": true love exists, but you are not worthy of it. It is feasible for the weak to hug each other to keep warm. I like "Lobster" far more than "Beloved". On the contrary, I was dissatisfied with the ending of the former, and was pleasantly surprised by the ending of this movie: the picture is cryptic and the metaphor is strong, and the internalized performance of confrontation is trembling.
In "Beloved", there are two points that contribute to this love entanglement. One is that all males are absurd and incompetent. Their existence is only the pawn of women's struggle, and their destiny also follows the tide due to the changes in the outcome of the struggle. Take Masham, played by Joe. Pretending to be a gentleman, he was rolling in the mud in the grove, flirting roughly with a maid like two wild animals. The beauty of the dignified first baron, even S can't help but want to taste it. He can only cheer for the queen at the ball, and marry the maid in the queen's game of checks and balances. Maybe he was ecstatic at the time, but not only did he not have sex on the wedding night, but in the days to come, he would have to drink boring wine to dissipate the shame of being green in person. In addition to the rich colors spent on the beauty of women, Oggs did not let go of the opportunity to use the male group portrait to vividly portray the luxurious and lustful pleasures in the court.
What's more interesting is that the whole movie exudes a strong sexual tolerance. There is not much visible nudity in the whole film. It can be said that the real chapters are all hidden from the camera. There can be no director in the world who can shoot everything, but a good director will guide you to an imaginary bridge and watch you reach the world in his mind. At least in this movie, Oggs no longer misses the use of mysterious words to convey his inner thoughts, but is fascinated by more powerful ways to tease the audience positively. The scenes in the movie that are deliberately cut into parts contrast with the smooth erotic dialogue, which does not violate the harmony, like a handful of salt just right.
Aside from the historical background story and the glitzy and dazzling palace furnishings, there is only a section of the movie that can be called boring, a tug of war about whether you love me or not. It can be seen that Sarah totally loves the wrong person. Anne is tirelessly trying to get more love by tricks. Abigail doesn't love any one: this battle is a tragedy for anyone, and there is no winner.
True love certainly exists, and true heart can never stand the test. The human heart is like a tide that rises and falls within an instant. Why should it require eternal happiness and abundant love? Oggs is not lacking faith in love, but in your humans.
First published on the official account "Muggle Watching"
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