Disaster Artist

In the time and space that Lu Qian is familiar with, Swedish master director Ing-Bergn has experienced a total of five marriages.

Among them, the first marriage was the shortest, lasting only two years; the last marriage was the longest, lasting twenty-four years, and had five children with five wives each.

Obviously, Bergman is not a saint, nor is he a faithful believer in marriage. He has experienced so many marriages, failed again and again but re-entered marriage again and again—

why?

Bergman himself was very curious, so, not long after he entered his fifth marriage, in 1973, the master director created a work:

"Marriage".

The movie is divided into two versions, one is a 169-minute film version; the other is a 299-minute five-episode short series version, but both versions are the same story, all derived from the same batch of shooting materials, However, the episode version is more complete, fuller and richer than the movie version.

In this work, Bergman discusses the matter of "marriage".

For Lu Qian, he thought of this work over and over again when he was writing the finale of the series trilogy.

how to say?

At present, the most popular and common view is that "love depends on passion, and marriage depends on management". Passion for a while cannot support the long-term daily life. It is also the relationship between partners, but the life style is completely different. This seems to have become a consensus , and has also become the focus of countless works of discussion—

When love enters marriage, passion cannot maintain the daily life of trivialities, firewood, rice, oil and salt, and compromise, gaming, deception, etc. become necessary means.

This view is not wrong, but it is not profound enough.

Bergman takes this view a step further.

Under Bergman's lens and brushstrokes, marriage is like a small box. Two people are compulsively placed in a space, not only to get along day and night, but also need to constantly run in all aspects of life, and be careful between bumps and bumps. Feel each other's edges and corners carefully, and the most trivial and smallest shortcomings will be magnified a little bit, and each other will fall into the rut of mutual torture.

The key is never whether you can change those living habits, but that both parties must constantly change themselves in order to adapt to the other.

Change is already difficult, and continuous change is even more difficult to achieve, and marriage needs to feel this all the time every day.

However, after getting rid of the marriage, both parties can regain breathing space. There is no bondage, no obligation, and no responsibility. Both parties can take a step back and do not need to force each other to the point of suffocation. Therefore, the spark of love is again rekindle—

Love has never been extinguished. What is really suffocating is the marriage relationship.

This is precisely where Bergman shines at its best.

Others are trying to show that love and marriage are two different things, tacitly agreeing that a long marriage relationship can wipe out the spark of love between two people, and the dopamine dissipates after two years.

Bergman, however, said that love and marriage are the same thing, and no matter how long the marriage relationship is, the pure hormonal attraction between two people cannot be eliminated. Love has always existed, but the marriage relationship itself has restrained love and blinded it. Eyes, let people ignore each other's advantages.

In the film, Bergman not only shows the ugliest and filthiest faces of two people in life because of their divorce, but also shows how terrible and disgusting the intersection of two people because of marriage.

This is a fundamental denial of the marital relationship.

The entire rank is instantly elevated to a new level, and this is where Bergman is really powerful.

In other words, Bergman did not believe in marriage.

But what is interesting is that Bergman's last marriage lasted for a full twenty-four years, from 1971 to 1995. After the fifth marriage, the director did not continue to try marriage, and later in 2007. Die forever.

So, what about Lu Qian?

Lu Qian thinks he needs to think about this issue seriously.

Strictly speaking, Bergman's experience and insights come from life, and it is his own life experience. The unique touch is integrated into every bit of the movie lens, which makes the "married life" outstanding and profound. .

But Lu Qian didn't.

Calm down and think seriously, Lu Qian believes that he still believes in marriage.

Indeed, from "tourist" to "lover" to the finale, Lu Qian always shows the ugliness and embarrassment of marriage, but at the end of the movie:

They still choose to stick to marriage, the institution of contemporary society, or, in other words, order.

A romanticized idea—

Marriage, in fact, is the same as love. The right time, the right place, and the right person collide together, and all of them are indispensable. Only then can perfection be achieved.

Therefore, whether "reason meets emotion", "emotion meets emotion", or "rationality meets reason", different matching methods are not the right answer; only after the right ones meet each other and enter into marriage, can they collide with the right one. Sparks, evading problems, and shirking responsibilities, etc. are not necessary.

From the core point of view, like Lu Qian and Bergman, they both believe that love and marriage are one thing and should not be two things that should be treated separately.

The difference is that-

Bergman does not believe in marriage. He believes that this order eliminates the meaning of love, and the trivialities of life occupy the brain.

Lu Qian chose to believe, but he was not full of confidence.

Lu Qian believes that the wrong result is often a deviation, the wrong time, the wrong place, and the wrong person are possible. However, the real cruelty of reality is that people often do not realize this, just blindly enter the choose a marriage relationship.

In the end, one mistake and one mistake are superimposed, and thus fall into a vicious circle, and the result is often unfortunate, even terrifying.

So, does Lu Qian really believe in marriage?

Can't say it's 100%.

It is not so much to believe in marriage, it is not to believe in love, and believe that the intimacy extended by love can be maintained for a long time.

If you look at Bergman, you will know that the fourth marriage is ten years, the fifth marriage is twenty-four years, and it is getting longer and longer.

At the same time, this is also the message Lu Qian hopes to convey through the "Marriage Trilogy"—

In life, there is no right answer.

Even Lu Qian himself, he may make mistakes, his views and opinions are not necessarily correct, and even the ideas last year have changed this year.

If there is no accident~www.wuxiaspot.com~Lu Qian is going to name this work with "love".

Not "marriage".

At the same time, it is not "the one who loves is you".

Originally, Lu Qianhai had considered titles such as "Destined", "Choice", "Belonging to Each Other", etc., but after re-examining, he found that it was too cumbersome and cumbersome, and he didn't have the lightness he imagined in his mind at all. was rejected.

"You" is another choice, but if you think about it seriously, referring to some mock lakes, Lu Qian needs the title of the movie to convey a clearer and thicker message.

"Love", this became the final version.

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