Not good at writing about love, because this worldly eye can't see the lingering pity, and the world without Mary Sue is full of deceit. The reason why I wanted to write the 2005 version of the film version of "Pride and Prejudice" was actually due to some feelings about the film version at that time - the beauty is beautiful, there are always some places, not enough muscles, a little bit of a boot itch meaning.
Pride and Prejudice 2005 poster
The film was adapted from twenty-four-year-old Jane Austen's 1799 work Pride and Prejudice. In fact, I have only seen the original book once, and I may not have much attachment to following the original work, which is not the original party.
Many adaptations of the 95 British drama version sought after by the original party, I also watched it a long time later, and I can't count it as feelings.
Pride and Prejudice, 1995 edition
Why are these two situations taken out separately? According to me lying on the Douban to pay attention to everyone's verbal battle, most of the dislikes for the 05 version come from these two camps.
I really like it, so even disgust and quarrel are solemn.
The supporters of the 05 version believe that the 95 version and the original party are stubborn, criticizing the bloated character shape of the English version and destroying the light "Li Cui" (the nickname of the heroine of the play, Elizabeth Bennett).
The 95 version despises 05 Kayla Knightley's anti-bone is too exposed, the adaptation is rough, and it loses a lot of jane Austen's British love charm.
Jane Austen may not have imagined that more than two hundred years later, people would still struggle with pride and prejudice. It turns out that pride and prejudice are everywhere.
Kayla Knightley
I'm neither the original party nor a fan of the '95 version, so why can't I appreciate the beauty of this oscar-nominated and star-studded film? In the course of review and self-examination, I watched it three times and finally woke up. It seems that there is something wrong with the perspective.
In the eyes of ordinary people, women are simply synonymous with love, in fact, those great and romantic love, but most of them appear in the male thick and majestic perspective. Yes, love is about the impressionism that has been beautified by the human brain, only by pulling away from the distance and blurring the eyes, it is a "gorgeous robe", you will see "full of lice crawling inside".
Women, on the other hand, often look at it coldly, the complexity of human nature, the starting point and motivation of all behaviors, and the details are all under the eyes. Therefore, the supremacy of love is also true, and the desolation and calmness in the eyes can also be traced.
The beauty of this movie is not Austen's push-and-pull in human nature and love, but the director's love that erases the details. From a distance, without scrutiny, love seems to see only the outline, and that love is also beautiful.
I have to admit that the director of this film has almost harsh requirements for beauty. From the beginning, the morning misty countryside, the sky is dim, and gradually the village house tiles are brought into the crimson glow. Each frame of the picture is like a travel postcard, a corner of poetry and distant condensation.
The insect songbird calls are replaced by soothing pianos, and the notes beat briskly like a stream that snakes through this mountain stream. It's like a girl stepping in the mud with joyful and light steps. The heroine, Litti (Kayla Knightley), whose brown hair is stained with the dew of the morning, lies recklessly on her stubborn-looking face. The light shone behind her, and she smiled softly, radiant. It was the most carefree and beautiful appearance of a young girl.
Here, whether it is our Chanel darling Knightley, or Jennifer Ellie, who is considered to be the closest to the original version of the heroine, the interpretation of "Elizabeth Bennett", who has been portrayed as the most successful character in the British literary world, is not satisfactory.
Jennifer's face has the characteristics of intelligence and gentleness, and her helpless posture is indeed too plump. And Knightley did write the sharp edge on her face, in Yang Kasa's words, to fully express her disdain for men with her face and body, which may be miss COCO's pursuit, but it is by no means the appearance of Li Cui two hundred years ago.
We follow in Li Cui's footsteps through the flock of geese in the water, through the white sheets washed and the nightdresses of the girls hanging high, the camera zooms in and out with the rise and fall of the piano, and the perspective changes, taking us back to the end of the 18th century when the female awakening has just begun, the world pattern has been reshuffled, the aristocracy has fallen, and the middle class has risen.
Through the window, Li Cui heard Mrs. Bennet shouting with joy, a rich man in London who earned five thousand pounds a year to return to his hometown, and she had 5 thousand gold to be in the boudoir. She begged Mr. Bennet to bow down to the wealthy Bentley, whose daughter's marriage was the source of all the impetus in her life.
What is the concept of five thousand pounds?
Someone on Douban has made an estimate, and I have also consulted some information, and the specific value is not clearly answered. However, after the official adoption of the gold standard in 1821, the pound sterling became the standard monetary unit in The United Kingdom, containing 7.32238 grams of pure gold per pound sterling. That is to say, 5,000 pounds in the early nineteenth century was 5,000 * 7.32238 = 36611.9 grams of gold, which is roughly estimated to be equivalent to 15 million yuan now.
From the side, at that time, in London, for example, some merchants were rich enough to rival the country, with an average wealth of 500-5000 pounds, and the annual disposable income of a medium family reached 300 pounds. Nationally, The Wetherrier Consolidated Fund (King) and Massie estimate that the income of middle-class households at this time is usually between £40 and £200 a year.
After this is explained, the charm of our Mr. Bentley is very obvious. The Bennets, who were regarded as the laughing stock of high society, took their five daughters to the forefront of the country ball. The beautiful and docile eldest sister Ji Ying fell in love with Bentley at first sight, and between Li Cui, the second oldest, and Bentley's friend, Darcy, who earns 10,000 pounds a year, a certain affection is growing.
Of course, the vulgar Mrs. Bennett can't have only these two outstanding daughters, and the power of genes is still strong, such as katie and Lydia, who are in the shape of her wandering skeleton.
The drama version can obviously give each character time to grow and emerge, and the film version is obviously much hasty, so that the character's personality can only be clearly expressed, and the exaggeration and dramatization of irrationality are inevitable.
People gather for profit, and the slightest momentum scatters. Your son Darcy is surrounded by speculators who seek profit, so he is cold-eyed, and even pushes aside his favorite people. His arrogant comments on Li Cui made our beautiful heroine's first impression of him as disgusting.
The sister's love affair with Bentley also increased the time for Li Cui and Darcy to meet. Mrs. Bennett, anxious to broker her daughter's marriage, was so ugly that Bentley's sister Caroline was disgusted. In the book, Caroline is bent on marrying Darcy, who is very cold to her. The film's feelings for her are not detailed, only Caroline's dislike for the Bennet family.
Darcy is attracted to Li Cui, but cannot stand the vulgar and rude behavior of her mother and sisters, and fears that Ji Ying is also plotting, so she persuades Bentley to leave the country. Persuaded by his sister and good friend Darcy, Bentley went to London, leaving a sad Ji Ying behind.
Mrs. Bennett's second wishful thinking was to marry her second daughter, Li cui, to the heir of his family, the priest Collins. According to the law of the time, the Bennet family's property was inherited only by men. Collins was mediocre and flattering, relying on his power to become a priest.
He thought he should marry one of the five daughters of the Bennet family. So there was a funny scene of him proposing to Li Cui, and the result was, of course, that Li Cui sternly refused.
Charlotte, a close friend of Crete, decided to marry this little priest who had no male charm because she wanted a stable life. Their union caused Li Cui to fall into anxiety about marriage. Whether it is the swinging swing, or the mottled face of the tree shadow behind it, the skirt flying between the vast world and the earth, the director uses the scenery to render the heroine's inner loneliness and confusion.
On her way to her girlfriend's new home, the lowly Lithy meets Darcy and his arrogant aunt, Mrs. Catherine, who is also the patron of the priest. At this meeting, Darcy finally can't suppress his admiration for Li Cui, and Li Cui hears the news that Darcy has broken her sister's marriage. In the heavy rain, in the ruins of the temple, Darcy arrogantly proposes to Li Cui, who tells all about her long-standing prejudices and rejects Darcy.
Darcy realizes for the first time that he is born with arrogance, which hurts the sincerity of both of them. He left her in pain, leaving a long letter before leaving hoping to explain their misunderstanding.
At this point, Li Cui knew that she was also prejudiced against Darcy, and under the deception of others, she deeply misunderstood Darcy and even ignored her own good feelings for him. Regret welled up.
Darcy then secretly helps Li Cui solve the problem of the little sister's elopement, saving the reputation of Bennet's daughters. He also encouraged his friends to regain Ji Ying and let a pair of Bi people regain their happiness. Breaking the barriers of pride and prejudice, the two people freeze their previous suspicions.
In the morning fog, a sleepless night Dassy walked through the hills and streams. He proposed to her again. They hugged and kissed.
"I'm not sure what time it was.
Where,
I saw what kind of style you had,
What kind of talk have I heard you,
It was because I began to fall in love with you.
That was a long time ago.
When I realize that I am starting to fall in love with you,
It's halfway through. ”
—Pride and Prejudice, By Jane Austen
Every inch feels life, and all the anger is beautiful
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