Severel cases of sextaul innuendo, subtle and obvious.
The plot concerns a man trying to seduce a women, he buys her a suite.
I women seduces a men, it is said she took him to a hotel.


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


The color feature film written on the wind, shot by German born director Douglas seck in the United States in 1956, is usually regarded as a love pop drama about quadrangular love: Kyle and Mitch, who are close like brothers, fall in love with Lucy at the same time, and Lucy falls in love with Kyle. Kyle and Lucy get married quickly. Kyle’s sister marylee loves Mitch who grew up together in an extreme way. Mitch regards her as her sister under the pretext of not accepting her love. Kyle was infertile after marriage. After his father died, he sank again and finally died in a tragic shooting accident. Lucy was disillusioned, accepted Mitch’s love, left the house and left marylee alone in the empty manor.

American film history has given a high evaluation to the 1956 film. In our opinion, this film is really very different from ordinary love popular dramas. In fact, this film is not about a love story in the usual sense. It focuses on the important issues in the popular drama of love, that is, the ultimate ownership of love and the ultimate fate of the characters. What its characters lack and desire from the beginning is not the object of love, but the ability of love. It uses all means to depict the personality style and inner struggle of the four characters who have a love relationship, or in the words of Lucy in the play, “the exploration of the soul”.

In my opinion, Kyle, Lucy, marylee and Mitch have the symbolic meaning of personality, which is no less than the connotation of a serious film. The role relationship is based on a closed character symbol system. On this basis, Hadley manor, Kyle’s father, oil tower, wind, sea, pistol, mirror, court, exaggerated color and other images participate one after another, Interwoven into a unique narrative map and symbolic system. So under the sea level of this love story, the subconscious deep sea of a family or even an era (actually, more accurately, the creator) surged. The attributes explored by seck in the bitter rain in love with the spring breeze have far exceeded the content of a popular play. This is one of the reasons why his films are regarded as a successful example of popular drama and are praised as author films by the French manual school (another main reason is his neat and stylized directing skills).

Kyle and marylee brothers and sisters are the core characters of the whole story. The lack of love of the nominal heirs of the two oil families can not be filled like the inflated demand for American oil. From several important conversations between the two brothers and sisters and Mitch, we learned that the “happy riverside childhood” of the three was before old Hadley was engaged in oil exploration. They were a rich and happy family at that time. Through the father’s story, we know that the mother of the two brothers and sisters died at about that time. After the mother died, little Mitch entered their lives. Since then, my sister marylee has an object of admiration, while my brother Kyle has a repeatedly referenced perfect personality (Miss). The image of a father alienated from his family was replaced by Mitch. Kyle has been bound with Mitch since then. All mistakes made by Kyle are borne by the brave Mitch. Gradually, Kyle can no longer bear failure alone, but is constantly declared as a loser. Marylee transferred the neglected jealousy and hatred for the loss of a complete family to her brother, and repeatedly satirized her brother’s failure in front of her brother as an attack. She entrusted all and only her love to Mitch, hoping to live a “happy riverside life for two people” with him. Kyle lost the male’s self-confidence and clear mind (manifested in the fear of sexual incompetence and infertility), leaving only sadness and self denial. Marylee keeps making trouble and self destruction, and is eager to get the love of Mitch. The director said by Mitch that marylee is better than Kyle and rarely complains. The “excellent” he refers to may be that marylee still has the characteristics of soberness and clear love and hate.

As opposed to the character personality of the two brothers and sisters, Mitch is a character that looks almost perfect. He is the son of a good hunter. He was brought to live in Hadley manor since childhood. He grew up, went to college and worked in Hadley oil. Before falling in love with Lucy, his patience, love and sacrifice for his two brothers and sisters and the oil family were close to the style of Oriental forbearance. He knows better than anyone that the family needs him. There is a dialogue that is very worthy of deliberation. Old Hadley advised him to consider getting married. He said, “if oil has not been found, what can we talk about getting married”, showing his illusion of unshirkable responsibility to meet the needs of others to the greatest extent. But to some extent, he is still the most sober person. He is more sober than marylee. At the same time, he also has Lucy’s lofty sentiment of dedicating himself to saving the soul (refer to his dialogue with Lucy in the beginning of the car and the dialogue before they drove to the drugstore). Therefore, before Lucy appeared, he was the only role performing the rescue function. But he also has problems. His problem is the illusion of responsibility given to him by the family, an excessive sense of myth. Until Lucy entered the “unhappy circle” (seck once mentioned in the interview that it was a “un-merry go group”: “unhappy circle”), he began to see complete sacrifice, excavation and cleaning, which could not really help his “brothers and sisters”. In this mutually devouring family, he can not get real independence or establish real relations with others (he is considered to be a subsidiary of the family by the outside world). He can’t marry marylee. In fact, the reason is not that he regards her as his sister. It’s only a superficial reason, but that marriage means a real marriage with the family, so he loses the last possibility of independence. Previously, Mitch has always been in contact with this group (the party in the oil tycoon’s house) in a free way. The same foreign free person Lucy, who is homogeneous with him, is actually another Mitch, which he knew from the beginning. In the end, he finally saw the illusory and weak side of himself from Lucy, so he began to have the real ability to leave his family and protect himself and Lucy.

Lucy, to some extent, gets rid of the word abuse of female images in Hollywood films. Lucy’s surface characteristic is elegant and independent, which is synonymous with rationality and order, but her heart is eager to challenge and face the unknown. This emphasis on internal and external contradictions is reflected in her love for the new advertising industry, but she lacks a sense of security; She longed for a home, but fell in love with a deep-sea creature with a gun (Kyle) at high altitude. Therefore, Lucy has several key scenes. One is the dialogue with Kyle in the high-altitude cabin, the other is the silence behind Kyle’s pillow pistol on the wedding night, and the other is the scene before and after the abortion in the bedroom on the night of the shooting. The sky, the sea and fertility all have surreal meaning. Lucy is eager to understand and control the mystery. She tries to face and release each other and herself in the name of “soul exploration”. However, in the name of courage and love, saving the soul with material expansion and lack of spirit is both noble and doomed to be tragic. But in any case, the entry of Lucy has shaken the originally shaken family relationship structure. Kyle tried to regain her male self-confidence, but she was finally defeated by the fear and fantasy of failure. Marylee lost everything. The relationship between Mitch and this family was finally broken with the loss of Lucy babies.

It is worth tasting that the end is the testimony made by marylee in court. Unlike Kyle, she finally chose to tell the truth, bear the consequences and give freedom to her loved ones. From another point of view, her enlightenment is the reappearance of Kyle’s death. Therefore, it is reasonable for Mitch to look at marylee’s eyes in court and consciously show hope and gratifying love. In the closing scene, marylee sits under her father’s portrait with an oil production tower. The fantasy has been disillusioned. Once thought that the other half of happiness was driving away with other women. Facing the oil tower (prop) that kept her away from the happy riverside life, although she knew that it was not happiness, she had nothing to hold on to. Is it to leave for love, or to stay and endure sober pain? Driving out of Hadley’s Mitch and staying in Hadley’s marylee are difficult problems left to the audience by the play. The “illusory happy ending” opens up a broad imagination space.

The story begins with a windy masterpiece and ends in a sunny place. The real tone of the whole video is the unknowable wind at the beginning, winding up dead leaves at home. The director’s attitude is included in the perspective of the last scene of the camera. It neither looked at the left Mitch and Lucy, nor let marylee continue to make a clear expression on the camera, but quietly fell outside the door of Hadley manor and continued to look at the Hadley villa in the distance from the iron door. This is a perspective that comes out but continues to stay, from which we can vaguely judge the director’s view of the whole story and the whole mirror world

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