Briefly a woman while going downstairs in the boat is fully nude. Her bare butt and side of the left breast is visible.
A woman changes and her backside and side of the breast is visible. The young man steals a look but she tells him not to look.
A woman and young man kiss despite her being married to someone else. At the end she admits she was unfaithful.


Film review:Translated by www.rabudo-ru.com


No one is so sad as Roman Polanski to practice the romance, blood, loneliness and cruelty of art all his life. What were we thinking when we were 27? Sit at your desk, seriously consider your failed youth and lost love, then go home and flirt with strangers on the Internet without expression, and finally review soap operas in front of the TV with pillows and potato chips. After 10 o’clock, he rolled back to the room and tried to wake himself up with a pointless nightmare.

Polanski, 27, is a dark storm. This year, he beat up several middle-aged people and a little boy a few years younger than him and made “water knife”, an unreasonable youth film full of fables and criticism. Behind the gentle saxophone, he complained affectionately about the unreliability of his feelings and the unknown way out.

“Water knife” is a sharp tenderness. This is an appropriate metaphor in the character relationship constructed by the film.

A middle-aged middle-class couple was driving to the seaside for a “yacht holiday” when they met a hitchhiking young student. The husband agreed to take the young man aboard for the weekend out of a strange and secret showing off mentality. In order to fight against the wealth and class superiority of middle-aged couples, young people claim to be a “hiker”. On the one hand, this is a poetic and student proof of identity. At the same time, they hide their disadvantage of “one to two” under the label. The play of “water knife” is based on the tension transmitted between the balance and imbalance of power in this triangular relationship.

Black and white images often have excellent visual appeal in expressing the outline of characters, the texture of scenery or natural scenery. Taking Bergman’s wild strawberries and vimwenders’s under the Berlin sky as examples, the composition and shading of black-and-white films are extremely exquisite, and even secretly reveal the sexuality that color films do not have. However, at the beginning of the film, the dull scenes of the couple in the car deliberately weaken this texture. Continuous tree shadows are shown on the windshield, so that the characters’ faces are constantly obscured. The whole Title tone is dim and fuzzy, shrouded in gray shadow all the time.

The middle-aged couple drove on the country road in the light and alienated piano music. The roadside scenery is desolate and bleak. Even if there is a kiss between husband and wife, the wife’s expression is very like a wood inlaid with facial features. She wore oddly shaped glasses, and there was a sneer at the corners of her mouth. Polanski’s film skills here are very hidden. It does not capture people’s eyes and ears with strange composition or dog blood plot, but instantly captures the different indifference of the two people with multiple fixed lenses, so as to pave the way for the narration of their relationship emotionally.

With the participation of young people, the relationship between husband and wife was suddenly exposed to the world. At first, the husband scolded the youth with absolute autocracy and strong posture. Therefore, he was in a very weak position. He was very envious of the upper class object – the couple’s car. This envy was cautious, accompanied by the youth’s stubbornness and self-esteem. His alertness and cleverness immediately added a touch of freshness to the indifferent atmosphere between the couple. After they came to the water, the young man offered to help transport the things on the car to the yacht. When he was really involved in the environment where middle-aged couples lived, the strange rich stimulation made him swing. But he tried to stay calm – and occasionally, of course, showed a little deliberate disdain.

After winning the first round of power game, the husband tried to encourage the youth to participate in the increasingly dull world between him and his wife with a quiet retention, looking for the pleasure of showing off and control. When the young man was called back to the yacht, the restless romantic leisurely melody sounded, indicating the official opening of the story. “I know you’ll call me. I know what you’re thinking. You want to play.”

The composition of the first two acts is very simple, and the characters are placed in the frame with almost no background setting. Even after reaching the water, there was no extra arrangement except for a few poles standing in the water and a few docked boats. The water was empty and silent, and only waterfowl flew by.

The first conflict between the young man and his husband occurred shortly after the appearance of “Shuidao”. The husband warned the young man to be careful with a knife, and then wanted to explain this with a personal experience, but the young man yawned and showed his neglect for the first time. The husband’s supreme position in the three person relationship was immediately challenged. He immediately showed irritability and dissatisfaction, ordered the youth to “reel up the sail foot rope” and refused to teach the youth to tie knots to ensure absolute control. After expressing dissatisfaction with his command tone, the young man still made a good compromise, took the initiative to lead to new topics and talked about the army by insinuation.

On the surface, the second head-on conflict between the two was still provoked by the youth. He seriously protested to the man, “I’m a hiker, not a wharf coolie”. The man responded impolitely, “you’re a coward.”. As an outsider in the conflict between the two, the wife suddenly came forward to compromise with the youth. She sheltered the youth in front of her husband, but aroused the youth’s competitive heart. In front of women, regardless of age and experience, the struggle between men will be particularly sharp. Finally, the youth’s protest seemed angry and mischievous, and ended in vain.

Roman Polanski has a special preference for the construction of the meaning of composition. He is often keen to express interesting and profound meaning with few elements in the picture. For example, in several single shots, from the large overhead shot above the deck, the three people’s different views and attitudes are portrayed.

A hormonal young man climbed to the top of the mast under the gaze of a woman. He stood on the safe commanding height and openly challenged the man under his feet. In the film, the initial relationship between the wife and her husband is “harmony”, which is an affiliated and controlled relationship. Since the youth’s intervention, she began to move in the other direction of this relationship. She began to oppose him and favor his opposite in an elegant way. Like a mother protecting her children, she put the youth under her wings. Even after the youth knocked over the soup because of recklessness and stubbornness, she still gave him a little of her share.

For the trivial and mediocre life of middle-aged couples, the youth exposed ridicule and ridicule without concealment. This is the most vulnerable soft hole of middle-aged people. The couple finally stood side by side to resist this aggression from “Youth”.

The young man’s warm blood created the first climax in a third of the film – he resolutely threw the oar into the water. This is true. The audience thinks that the contradiction between them seems to have escalated. In the next few minutes, someone may be thrown into the water… In the middle of this barren water, any provocation and struggle is more dramatic than on land. When the three forces cannot reach balance, it will create a crisis enough to destroy everyone.

If youth is like that spring knife, it has a false threat to men in the middle-aged crisis. Youth use games to counter the strength of men again.

Confrontation is boring. Halfway through the film, the film set up a “public crisis”: grounding. Since then, the relationship between the three has tended to be stable, and the youth actively participate in it, no longer being isolated and isolated. They entered the cabin to avoid the heavy rain. The young man peeped into the woman’s bare back for the first time, and the sexual tension between him and her began to appear clearly in front of the screen. A soft flat sandal and a sad love song are fatal temptations for young people. This longing disturbed his heart. He hesitated to approach this beautiful and mature woman, of course not so presumptuous. In showing the chemical reaction between them, the black-and-white film reflects its unique and unparalleled picture texture: a woman sitting on the deck smoking, slender legs, those flat shoes, and a young man walking by her barefoot… This is a charming message that only a film can reveal.

Couples who have lived together for many years are so familiar with each other that men can soon detect the slight emotional shock. When we saw the suspicious and peeping look on his face half blocked by the deck, we couldn’t help but marvel at the silent insight that can be seen everywhere in this film. Although there is no evidence, it is obvious that the youth has become his imaginary enemy. He arbitrarily commands the youth and wants to exchange all his wife’s attention and obedience through this autocracy, but this will make him more and more passive. At this time, the second climax of the film appeared. The man threw the young man’s precious knife into the water, triggering a long-standing war between the two. The man tried to provoke the young man to comfort his jealousy and pushed the young man into the water. This ignited his wife’s dissatisfaction and hatred for him. “Do you know what you are? A pretentious liar, you just want to show off yourself in front of a child!” The couple slandered each other and criticized each other with fierce words. The man went into the water to find the young man, and he was hiding behind the buoy and watching the change. He swam back to the yacht, and the opportunity for them to get along alone was what the audience was vaguely expecting. He heard her cry, so he climbed into the boat in hesitation. The woman slapped him twice because of his lie, and then immediately went to the side of the boat to shout for her husband, but there was no man on the water. Then there was a admonitory dialogue between his wife and the young man. She touched his fragile self-esteem and reached the third climax of the film: the boy took off his armor in this gentle torture. He needed to kiss her to prove that he was also a man who could kiss her. Under the tension of sex, women often can only be caught at arm’s length. Moreover, she also likes the recklessness and shyness of this young man. She is no less eager for him than he is.

This is a “completion of betrayal”. The most extreme possibility of their relationship has been realized, and it seems meaningless to stay any longer. After looking back, the young man left, his wife returned to the shore, and her husband was waiting for her. Everything goes back to the starting point, but the two people sitting in the same position have some complicated feelings. The wife slightly regretted in her calm expression, and the husband confessed that he was “too confident” through the story. The car stops at the intersection, and a fable picture is the end of the whole film.

The beauty of water knife is that it always triggers sharp conflicts in a very limited space, and then deals with this complex and subtle relationship change and power struggle with restraint and calm. In the pairwise relationship group of three people, confrontation is the most basic dramatic point, and then based on this explosive force source, it is given ambiguity and chaos again. The instability of the relationship between wife and husband is a good example. At the moment of their subtle confrontation, they were mixed with the feelings of the past and the warmth of the past. The comparison between men and young people in age and mentality can also reflect the proposition of “confrontation”. “Desire” corresponds to the ambiguity attached to the surface conflict. In such ambiguity, the interpretation of the relationship between the characters now and in the future will be extended to the greatest space, and this psychological description of multiple interpretations highlights the capacity of a film through the assembly of lens language. The soul stirring part of a successful play lies in the film author’s maximum exploration and Discussion on the relationship between people, people and things, and people and the world.

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