Although the background of the times is still connected from time to time, what I see is still the entanglement between each character. It may be misleading to say that some drama titles that are translated as "Once Upon a Time in the First World War" and similar to war themes are put on TV dramas.
Sylvia is a more and more sympathetic character. She knows that everything she does is deviant but can't restrain herself, because she yearns for freedom instead of facing a "dead wood" that "will not see blood" and is prudent and weak everywhere. Stubborn so-called gentleman. A section of Seagull directly shows the contradiction that the two cannot integrate: When everyone had a picnic in the wilderness and talked about the war, Sylvia impatiently left the seat and walked to the cliff to overlook. Christopher instinctively followed to express his concern, and even gently pointed to his wife the seagulls flying in the sky. But in an instant, he returned to the channel of dinner table talk—war and trade between Germany, France, Britain, and paid no attention to his wife’s romantic expression of her desire to be a free-flying seagull. Even if Slyvia couldn't bear to say that if you keep talking, I'll jump from here, he was still immersed in his own thoughts, muttering, and silently walked away when his wife was okay. If it were me, I think I would be unbearable. And it is precisely this "indifference" that stimulates Sylvia to flirt with men again and again and make fun. But occasionally, gentleman Christopher's concern would give Sylvia some hope that there seemed to be a weak thread holding the man in her hands. When C went to Germany to pick up S, in the carriage, S saw that he was using the child's "father" (actually, it might be C's, I think, otherwise why is his hair so golden), and when C was disturbed by the mirror he sent him, he took the mirror It was thrown out the window, but C insisted on stopping to pick up the mirror. At this moment, S's expression was a little surprised and a little speechless, but as a wife, what I saw was more of a little pride. It's like a spoiled princess who meets a gay but suddenly the other person is actually bisexual or even heterosexual, and the light in her eyes even when she is still passionate about herself. It was this little pride that was noticed by the boudoir and summed up as soppy about him. S doesn't admit it, and C is even more immersed in his own helplessness against S, so he can't even notice it. So S returned home after socializing on New Year's Eve, of course, was escorted back to the house by the new sweetheart, while C shook hands with everyone at her sister's house and said Happy New Year. . . S heard a little noise in the quiet room. She was pleasantly surprised to think that it was C, but later found out that it was just a maid who accidentally dozed off. The disappointment and pain instantly turned into willfulness and anger. At this point, I began to sympathize with this woman. If it wasn't for the sake of not destroying herself and letting her reputation be compromised in this world, she would not have returned home and faced only a neurotic maid and a dark and lonely bedroom like she does now.
As for C, in addition to his favorable impression of BC, the pride and conservativeness, loyalty and stubbornness of his privileged class remind me more of the line that S's mother said in the first episode that she wanted to stretch out her hand to strangle her husband. I don't see the cuteness of C because gentleman and morality do not equate to cuteness. His only impulse towards S was dedicated to their first meeting, in exchange for an embarrassing marriage that made him feel like he was behind bars. His reason for V is also because he thinks a gentleman should be loyal and not because he worries about S. Such a man: When you have to maintain a gentleman's attitude even when you get a bath towel for your wife who is taking a bath, you go back and ask, do you live with one person or with the creed of "I want to be a gentleman"? He was moved and possessed by S's beauty, loved and missed by V's admiration and sincerity for him. V was indeed a better fit and understood him, so at the Friday party where he decided to tell Macmaster that he was going to join the army, he said emotionally to tears: "I don't get what I want", "There's nothing in this world that I can keep. live." In fact, C is also a spoiled child. Like Mr. Darcy, he sees through the hypocrisy of everyone and shows it at a glance. He impulsively thinks that he is serving the country and order, but he forgets that the society he lives in is still full of hypocrisy. with sophistication. What I can say is that he is a good man, a gentleman, even a gentleman who deserves sympathy in his emotional experience. Without knowing what will happen next, make such a conclusion for the time being. He tortured his wife in a way he didn't know and was tortured in a deliberate way by the other party. It looks like he has the upper hand, doesn't it? As long as he knows a little bit of flexibility or is less immersed in his own world, his love and his career may be completely different. Ironically, outsiders don't understand his pain, either seeing V sitting on the carriage he was driving early in the morning or the hand of a crying Mrs. D lying in the train (actually it was Macmaster's fault). Unfamiliar outsiders thought that he had failed S, but in order to cover up his wife's arrogance (perhaps more for his own reputation), he couldn't even expose the third party standing opposite him cuckolding him. This mixed feeling of hate and sympathy seems to add drama to the novel and humor to the TV series.
Of course, this war is not without V, a girl who is full of beautiful longing for love but is broken by the derailment of the most respected lady, a political suffrage who shouts for justice for the cause of women's rights but finds that the extreme left way is destroying the harmony she should have. She fell in love with the C in the box, but became a V in politics. In fact Valentine seems to be shouting for Slyvia and is willing to put herself in C's cage. Perhaps the word cage is a bit unfair to C, because he is in a completely different state when facing V, a state of self-confidence and humor, mature and idealized. It seems that the corruption and glory of C can only be displayed by a certain woman. And V is the mirror that he likes to see and feels at ease, but he can't buy it.
So everyone is pitiful, unable to escape because of too much entanglement. However, each of them did not realize those entanglements, and they were destined to fight to the death on the battlefield of love for each other. expect.
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