Nikita is a 1990 film by French director Luc Besson about a young girl under the age of 20, Nikita, who took drugs, fell, participated in an accomplice robbery, and was sentenced to death for killing a police officer. But this is the beginning of a new story in her life, in real society, Nikita is formally dead, but in fact she is recruited by the intelligence agency, trained rigorously, and three years later she becomes a killer for the government.
She hides her true identity, ostensibly working as a nurse, but in fact performing dangerous actions. But she is in her youth, and she also hopes to be like an ordinary girl, have true love, and live an ordinary life. Finally, in the accidental mistake of a mission, she broke down and could not bear it any longer, and she was determined to get out of such a life.
"Female Prisoner Nikita" is a famous work by Luc Besson, which was redesigned by Hollywood as "Two-Faced Female Scorpion" and hong Kong also changed to "Naked Agent".
The film "Nikita the Prisoner" is far less famous than the Fifth Element, This Killer Is Not Too Cold, or Joan of Arc in the series of films directed by Luc Besson, but it is a film that I like and highly regard.
In the movie, the heroine Nikita has several new births. Sentenced to death, but found that he was not dead, it was a new life; he came out of the training base and secretly became a government killer, but he had a new identity - nurse Mary, a new life; after knowing Marco, he was born again; finally, he left Marco and got a real new life.
The film is interlaced with Nikita's birthdays, especially in the years of the training base, the birthday moment changed from nineteen to twenty-three, and the years passed like days, monotonous day after day. Nikita was sentenced to death for killing the police for her, and instead she could continue to live at a very high price, and her identity as nurse Mary from then on must be reborn into death at any time, or destroyed into the old woman who trained her to be a feminine woman.
It is impossible to determine which is better than the immediate execution of the death penalty?
But being alive gave her hope. Once again, she got a new lease of life because she knew Marco. The rebirth of the past is a kind of fate-to-life transaction, but this new birth is obtained by love.
After knowing Ma Can, she really wanted to never mention the past, to erase the past forever, in order to keep her and Marco's love forever. This was the new life she wanted most. But how can the killer career, and why he became a killer, be hidden from the pillow man forever?
Until finally, when she discovers that Marco already knows about her past and her career as a killer, she asks Marco, "Why didn't you say it earlier?" Marco replied, "Because I only love you." She was finally released. The horse loves her, and the new life marco gives her is unconditional.
Bob's love for Nikita is much more complicated in comparison.
In fact, Bob is very similar to Nikita - both are people who long for love and have the tenderness of love in their hearts, but they are also completely violent. Both of them have excellent conditions to become killers. As a person who trains killers, although Bob is well aware of Nikita's childish and innocent desire for love, he is also full of expectations for Nikita to be stimulated into the killer's potential, so his relationship with Nikita is always to stimulate the potential of Nikita's killer and give the killer task, so he will love and care as a reward for Nikita.
As long as Bob shows love and encouragement to Nikita, after that, it must be a killer request, a killer mission. In this way, as long as Bob continues to appear in Nikita's life, Nikita will not be able to shake off the corrupt past, whether it is on the level of reality or the level of the mind, and it will never be possible.
Bob weaves an innocent childhood story of Nikita in order to help Nikita hide from Marco, and in that moment, perhaps the most mellow state Nikita and Bob can achieve together, they both indulge in a paradise that has never happened.
Only Marco can see the pure beauty of Nikita from Nikita's most decaying past, and from Nikita's murderous hands, see that she needs to be protected.
That's why Nikita said, "You're the most beautiful person I've ever met."
It is easy to see beauty in beauty, it is easy to imagine a paradise, to see beauty from it, to see the possibility of innocence from the past of sin and decay, it is great compassion, great love. The image of Christ that Dostoevsky tried to describe through the "idiot" is precisely this image, the greatest compassion and love in the Christian faith, and it is precisely this essence!
Although the whole film is fast-paced and touches the spiritual level of new life and love, it is very deep.
The film ends with a particular afterglow.
When Bob knew that Marco knew everything, he asked, "What do you want me to do?" I'm listening."
Marco replied, "Protect her!"
Bob knew what Mark meant. When Bob said, "We're all going to miss her, right?" This means that he wants to fake Nikita's death in order to cancel Nikita's case to his superiors, because this kind of killer who kills his life can only let her die.
Nikita is once again born through death, only this time there will be no more fear and death, but will live in the kingdom of love.
Of course, Marco can't immediately meet with Nikita, who has fled, and he cooperates with Bob to pretend that Nikita is dead, but from Marco's conversation with Nikita: "Do you have a little space for me where you left?" Nikita replied, "You need a lot of space."
How much it means that their future reunion will no longer have the task of darkness, fear, and killer, but only the love that Marco has completely accepted, which will be the greatest space, for Nikita, for Marco.
There is also a lingering place, that is, the note that Nikita left for Bob, but was torn off by Marco, what exactly is written? Why is Bob asking what is the content? Marco doesn't answer? Who does Marco not want to hurt?
This is precisely where Luc Besson is clever, resulting in the American and Hong Kong versions of "The Female Prisoner Nikita" not showing the depth of Luc Besson.
"Nikita the Female Prisoner" has a certain inheritance relationship with "This Killer Is Not Too Cold", starring Jean Renault a few years later. Nikita can be said to be the little girl's version of the little girl in "This Killer Is Not Too Cold"; and the killer Jean Renault in "This Killer Is Not Too Cold" and Bob in "The Female Prisoner Nikita" also have a very obvious contrast.
The killer in "This Killer Is Not Too Cold" makes Renault guard against the little girl becoming a cold killer at every turn, and finally dies for the little girl, which contrasts with Bob's always deliberate efforts to stimulate the potential of Nikita's killer, and the two sides of the soul behind it are reversed.
Mark's mercy and love saved Nikita, but who can save Bob?
Marco asked Bob, "Don't you tell her to kill too?" You can kill it? If you say so, you don't have to pay your debts?" This provocation and questioning of the official position and the government apparatus is also more explicitly stated in "This Killer Is Not Too Cold".