[The first incense] was released today.
Because of the luxurious team, I was full of curiosity about this movie, and I had to see anything.
Compared with the restoration of everyone's lively discussion, I think what is more rare and more important is that it shoots the collision between the times and love.
It's the most complicated thing, meets the purest thing.
In essence, this is the era of complete depravity, using the love of a young girl to carry out an impermeable siege of her, a bloodless strangulation.
Ge Weilong (Ma Sichun) is still a young girl, in this sense, like every girl in the past, she is in the "era of love", an era of full of longing for love.
However, Ge Weilong was also in Hong Kong, China before the war, and the mountain rain was about to come and blow all over the building, in this sense, "the love of the times" had no place to stay.
Love is not born at the right time, the "era of love" is messy, the "love of the times" is in turmoil, and [the first incense] is about the dislocation of the two.
In this dislocation, a young girl who should be carefree, at most worried about giving new words, voluntarily sells herself to provide for her lover to live a luxurious life.
You can lament that Ge Weilong's choice is not worth it, but it cannot be denied that Ge Weilong's admiration for Ge Qiqiqiao was originally just a normal chase of love by a young girl, and everyone would have it.
This chase has nothing to do with Georgie Qiao (Peng Yuyan) himself.
Ge Weilong did not ask for anything in return, nor did she beg, so she said at the end of the film: "I love you, what is the matter with you?" ”
She didn't realize that this love was not about Georgie Joe, she was obsessed with love itself.
Too many people have written about this fascination.
The German poetess Kathinka Zitz wrote: "I love you, it has nothing to do with you. ”
It was misrepresented to be written by Goethe. Not surprisingly, in Goethe's "The Troubles of Young Werther", Werther at this age is also deeply trapped in the troubles of love, whether Luti responds or not, he thinks wholeheartedly: "Luti, as long as I can die for you and dedicate myself to you, I am happy!" ”
In "Letter from a Strange Woman", Zweig even depicts a love one-man show that arises from a barren youth: "I only have you, you have never known me, and I have always loved you." ”
In the age of love, no matter what, it is necessary to go through such a situation.
Ge Weilong was originally going to sing this love drama with Lu Zhaolin (Yin Fang), but the young man could not withstand the temptation, and he was hooked by his aunt Mrs. Liang (Yu Feihong) three times and two times, she was sullen, and Georgie Qiao took advantage of this gap to break in.
Timing matters.
Even if the motivation is not glorious.
Qiao Qiqiao was not to relieve Ge Weilong's boredom, but Mrs. Liang gave him a look and asked him to support Ge Weilong and not spoil her good deeds of seducing Lu Zhaolin.
Georgie Joe walked with her and read poems to her, which were really the conditioned reflexes of his veteran love scene in the face of women, and he didn't bother to think about it at all.
In most of the film, Peng Yuyan frantically exudes that hormone, and with a little bit of energy that no one cares about, he wants to get away with it, which is even more deadly.
When he saw Wei'er (Zhang Junning), he looked down and sniffed the flowers in her hair, and when he saw Liang Tai, he said two ambiguous sentences, pleasing women, and it didn't cost money or effort, why not do it?
It's just that Liang Taihui and his Taiji push hand, But Ge Weilong doesn't know how to be good at all, and only feels the danger by animal instincts, but there is no trick to make, and can only be shy to avoid.
This hiding buries the ambush line of fate -
Ge Weilong hid, hit the red heart, and found the goal of love.
And Georgie Joe just happened to catch a prey by accident.
From the beginning, Georgie Joe and Ge Weilong were not in a single position.
Georgie Joe is the dangerous fire, while Ge Weilong is the obsessive moth.
Moths put out fires, a dead end.
You see the two of them in the movie.
Georgie Joe appeared, did not see his person, first smelled his deeds.
Mrs. Liang wears a wide-brimmed hat and a veil of shawls, and all the way she walks in the wind and fire, the veil flutters, and Wada Huimei prefers Yu Feihong, and a half-concealed fit dress looks like Mrs. Liang is sharp.
A few vicious curses floated out of that veil, and it was Georgie Joe who scolded.
It was said that Qiao Qiqiao dared to tease her Mrs. Liang.
Mrs. Liang's appearance is a bad role; and this Qiao Qiqiao, even Mrs. Liang did not pay attention to it.
Good characters.
And where did Ge Weilong appear?
That year, the student sister's blue cloth clothes, the student head, Qi Bangs, Wei Er and Wei Wei asked her who she was looking for, she was full of mouths looking for "I look for my aunt", even a name could not be reported, cramped and old-fashioned to make the next person look down on.
Not to mention, Mrs. Liang came, saw her, and greeted her father with her face covered: "Is Ge Yukun dead?" ”
Anger, crushed her to death.
This thing drops one thing, the character has just appeared, and Ge Weilong has been pressed at the bottom of the food chain.
The scene that happened after that is not surprising.
Georgie Joe said, I came to you at night, and Ge Weilong rolled over on the bed, and simply got up and curled up in the corner of the room——
If you want to come, I will wait for you.
Ge Weilong didn't say a word, just lay down on the bed with a straight voice, one was at ease, the other was sincere and clumsy with all his heart——
The power to kill and kill is left to you.
The movie uses this scene to show the complete imbalance of power in this love, but you can't bear to really scold Ge Weilong for being stupid.
Blame only blame, flower season, is an era of love.
Mistakenly hit and bumped into an object, hysterically embarked on the road of no return.
It may be stupid, it may be stupid, but this is the stupidity that is often found at this age.
Li Qingzhao once wrote such a desolate sentence full of national hatred and family hatred: "Eight wing buildings through the ages, the rivers and mountains remain with the sorrows of future generations." ”
But at that time, she had already gone through decades of life, saw the loss of the country and mountains, and also experienced the disaster of imprisonment when encountering people who were unladylike or even innocent, and had long surpassed the love of children.
When she was a teenager, there were guests at home, but she also "leaned on the door to look back, but sniffed the green plum", under the guise of smelling the green plum fragrance, and looked at the young talents who came to visit.
It is difficult for anyone, at this age, to soberly break the superstition of love.
At this age, who does not regard the misunderstanding of love as love, thinking that love must be crushed to pieces, must be vigorous, must be moths to put out fire.
But this kind of moth to put out fires only exists in specific stages of life.
As long as you come out of this era of life and death for love, you will know that no one is worthy of you to abuse yourself.
If you can go out, you will learn from Qiao Qiqiao's sister Zhou Jijie (Liang Luoshi) and become a "foreign nun".
Just at this stage of life, there will always be a blind eye, thinking that love is all.
In every era, there are always people in the flower season and rainy season, and there will always be moths to put out fires.
It's just that this kind of love, even if it is also an unworthy object like Georgie Joe, will have different chemical reactions in different eras.
In one era, you'll be a teenage Werther; in another, you'll be a strange woman in Zweig's pen; in another era, you may just have a first love that isn't worth remembering, you write a post online, yell at your ex, get dozens of likes, and then the post is buried in the vast ocean of bytes, and that's it.
Ge Weilong's greatest misfortune was not even to meet Georgie Joe, but hong Kong, China, where she was born in that year.
It was in that era that monsters like Mrs. Liang and Qiao Qiqiao were bred.
In the movie, Yu Feihong performs Mrs. Liang's bottomless emptiness: she wakes up in the middle of the night, wearing a gorgeous nightgown, wandering in the mansion decorated with peacock specimens, taking a puff of smoke, and the smoke is like a wandering ghost.
Such a monster, partial and like a zombie, when he sees a living thing, he will take a bite, and he must turn everything he sees into the same monster.
That era had sucked her blood dry, and she was now going to suck someone else's.
The last scene of the film brings that distorted era to life.
It's New Year's Day, and the streets are steaming, eating, fireworks, and it seems to be very prosperous.
But from the dark corner, a few sailors jumped out and hooked up with a woman painted red and green.
It looks like the song and dance are rising, and all the maggots are born inside.
At present, we know that even this superficial song and dance will not be long gone, the war is not far away, and the Hong Kong area will also fall.
It wasn't prosperity, it was the last ridiculous drunken dream of death.
In that society that eats people and does not spit bones, the monsters carry out the last carnival, luring Ge Weilong, the prey, into this trap step by step.
Even the love that Ge Weilong is chasing has become a fig leaf, covering up the unbearableness of this era, covering up the monsters' stubbornness, becoming a food trap for strangling young girls, and so on.
[The first incense] also takes the audience to grieve for Ge Weilong, for a first love that could happen to anyone, distorted by the times into an ethical tragedy.
The simplest feelings without impurities have been dyed into this kind of dirty thing by the times.
The more pure white, the more tragic, the more vivid, the more eroded.