Since his name is Philippe Petit, let's call him Xiaofei - anyway, every character in this story has a nickname. Xiao Fei has the face of an acrobatic star. The more I look at it, the more I feel that when he was young, he looked like a red-haired troublemaker in a Western children's story. Every rascal’s childhood has a backyard overgrown with weeds, and this one is no exception. Wooden stakes, steel wires, tall weeds-a few scribbled and simple things are the best portrayal of his growth. It's just that the grassy backyard did not become barren with the passing of Xiao Fei's childhood, but in his climax of his youth, he fulfilled the full ambition of a dream chaser. The reason why Xiao Fei's backyard is full of imagination has a lot to do with Annie. To be frank, I like Annie very much. I don't know if it's because of her long brown hair and big dark green eyes. She appeared at the most wonderful stage of Xiaofei's life, and suddenly a figure with long hair fluttering in the life of this bachelor. Annie's Xiaofei at that time was more like a confidant. There was even a piece of her monologue saying, "I also have my own dreams, but with Xiao Fei, I gave up my own and followed him from now on." As soon as the words were spoken, they seemed to be heard by God, and they determined the future of the innocent lovers. It's the end. This is something. It was fun to play with Xiaofei, Anne, and Jean Louis (iron buddies) back then-looking at that video, like Proust, reminiscing about the water years. Because at that time they didn't know how high the sky is, how high this person's heart is. The twin towers of the New York World Trade Center were completed. As Jean-Louis said, this seems to be built for Xiao Fei. (Again, the truth of "Because it's there" is verified again) The
French rebellious spirit is deeply rooted, and this spirit supports them to regain their strength after repeated defeats. There is a vivid memory of Xiao Fei: the elevator of the twin towers slowly rises, and the little light on the top gradually disappears from nothing, from gray to bright, and he seems to be approaching heaven step by step in the elevator. What's interesting is that it was his crutches that finally allowed Xiao Fei to enter and exit the Twin Towers freely (I want to sigh the Americans' near-perfect social norms here).
Xiao Fei's gaze on the steel wire is the most focused gaze; the hovering between the two sides of the high altitude is the most permanent hovering. The world in his eyes has no vertical height, only a leap from this shore to the other shore. This is probably why after inspecting the external structure of the top floor of the twin towers, Xiaofei's own structural model only made the top floor-we were afraid because we only looked at the depth of kilometers, and Xiaofei was calm because of disdain to go deep.
As for what happened after Xiao Fei became famous, it is not the focus of the film. It only makes the memories of Louis and Annie a little bit more interesting, leaving a lot of blank space in the film. We can only guess the whereabouts and ending of the people in the play based on countless similar Hollywood stories. This arrangement is also good.
One more digression - you can imagine the sadness of the Americans after watching the film. In particular, there are a lot of excellent photos taken on the top floor of the twin towers, which is awe-inspiring. It even feels that Xiaofei's walk is a kind of memorial to the collapse of the twin towers. However, this time is not that time, so people don't know what to do.
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