Feminist confessions of "They": Dear girls, you don't owe the world anything

Grinding, I finally went to see "they." The editors in advance have been all kinds of thunder, the little woman original has seen the children's version, the comic version, the full version, I am afraid I have no surprise.

Photo: Film skit for them

And I'm sitting in the theater, maybe the first play, and I've loved the adaptation of the play - it's a female back lens, low angle, almost the entire picture and the audience's view, hinting at - are are they little live live big enough, big e tobig be The main character. Women are enough to be the protagonists, whether in the nineteenth century or in the twenty-first century.

Next shot, Joma District sits in the publishing house to negotiate. The voice trembled, she hid the pen-and-ink hand, waiting for the work to be evaluated, the other side to reduce the amount of two, she finally got below the market price of the manuscript, this meager remuneration weight, enough to make her feel the freedom of economic independence.

The main character is about to appear, the background is the Civil War, the men who are not at home, and often at home women, that is a woman is about to become the main story of the time and space, that is a woman to construct self-worth and the meaning of time and space, that is a link between the past and the past, open before us.

Greta Gerwig's adaptation of "Little Woman" is honest and clever, and there's a feminist confession - talking about marriage and economic slink, talking about the dilemma of independence and love, talking about what's wrong with vanity, classic themes, new ideas, just in time.

Growing up light, new women can hardly be heard "But I'm lonely"

What I particularly like is Greta Gerwig's handling of classic themes. Let's say, marriage.

Feminist resistance to traditional marriage, the hesitation of romantic love, the resentment that women can only achieve class mobility through marriage, have been mentioned too many times, what is not talked about behind the space? She dug down and let the main character speak honestly. (Recommended reading: Marry into the door, become a housewife, the self-challenge of the British feminist)

Photo: Film skit for them

Then there's the classic line of Choma, "I'm tired of hearing people say that love is all about women." I'm really tired of listening. I prefer the following sentence, "But I'm so lonely." I want to be loved, I want to be loved now. 」

Life is disappointed, you find yourself alone in the face of the dark, can not earn money, achievements are not affirmed, have not thought that marriage will not be the least resistance of the road, as if it is relatively easy, as if all people also expect me to do so. We may have thought about it, at least I've thought about it, really.

Joe is afraid of ideals and love conflict, afraid of marriage after their own no longer free, no longer able to create, no longer become their own, this is in fact the contemporary women often fear. We don't want to fall into the discussion of being forced to choose between a two-choice or not, or have a hast-it all, and wonder why only women need to make such a difficult choice. (Same show:Lean In After: Career, Parenting, Marriage, can we really have it all?) ) )

And such a discussion never means that we do not desire love and being loved, do not desire to enter into a relationship. For example, sister-in-law Amy talkabout about marriage, directly open to talk about - marriage, is not the economic problem?

"As a woman, I can't make money on my own, I don't make enough money to live up to my family. If I had my own money, I didn't, and after I got married, the money would go to my husband. If we have children, the children are his, not mine. It's all about him. So don't sit there and tell me that marriage has nothing to do with the economy, because it's about it. It may not be for you, but for me, marriage is about economic stake. (Recommended reading: The Economics of Love: How much does a wedding cost?) ) )

Amy carries aunt's expectations, and she must marry well. She knew that only through marriage, can support the family plan, she can also draw, but can draw and how, a woman has talent, with a woman can marry, can bring the economic benefits are far from. In fact, from before to now, women have already seen this matter can not be understood.

Photo: Film skit for them

Then, on Marg's argument with Joe, Joe proposes to take her far and aloft on Marg's wedding day, and she can imagine her sister becoming an actress, why not? "My dream is different to yours, but it doesn't mean it doesn't matter, " Marg said. That sentence is also very beautiful. If you are willing to go into marriage, is it a betrayal of self? Can't this choice be another form of self-practice?

I also like the drama to shoot Mag's hesitation, she hates poverty so much, but chose a family that can't give him a rich one, she even buys a new clothes to think twice, she hates the baht will be more than their own. And she knew that she was so much in love with the man who made her scare.

Love and bread are in fact a continuous choice.

After the choice, it is to bear, and to say that the same is true for all. Never has a choice was 100 per cent, at no cost.

Women's self-formation, just ask yourself

"They" does not give the audience a standard answer, but opens up all kinds of survival.

The film deliberately let the audience see, Joe's independence behind, there are tears, she unfortunately cut her short hair, but she missed, in fact, Joe may be the most fragile character in the play, is these pitys, is these nights crying, let her lifelike.

Independent women, never invincible iron King Kong, not afraid of pain, all day against the world, we are all like this, even roll climb, not light to grow up, become a woman. (Recommended to you:Gender Observation) Feminism, giving people tenderness is gentleness to yourself)

Photo: Film skit for them

Perhaps in Joe, Marg, And Emmy's choice, we will see more - the female model is never only one, feminism is not a piece of iron, the practice of female values do not always have to dismantle the patriarchy forward. The formation of the female self, to be honest, just ask yourself is enough, you have nothing to account for this world, or to make the world satisfied.

Women are self-conscious, starting with knowing what they want.

Joe's novel stakes, records, is the story of how women grow into themselves, how to choose, how to achieve, how to give up, how to own. And Joe again to the publishing house mediation, there is more underground, this time she chose to put her own name, have their own narrative rights. Joe is willing to take a nod, modify the ending, because she knows that the actual end of life, in their own body, the road has a variety, she need not be afraid to go.

So in these versions, she rushed out of the carriage, stopped the professor in front of the train station, and they kissed him, and he didn't want to go far for her sake. OK. She took her aunt's legacy and chose to open a school, a co-educational school, to encourage children to explore and develop their interests, and through education, she had children. OK.

You say which one is her ending, you can.

I like the beginning of "they", also like the end of "they", the lens solemnly and cherish, filmed the details and procedures of the manuscript into a book, pick out the lead, cut paper, hot stamp, cover cover, hot words, this process of a thousand hammering, such a time waiting, is a tribute to the original "Little Woman", is such as Greta and Louisa Such as the beauty of women's creation, a kind of present and past is not necessarily mutually exclusive, but more likely to continue each other's life kinetic energy, is also, thousands of women should be recorded and spread of the chronicle.

Photo: Film skit for them

It was a story from 150 years ago, but it's also like, it's the story of today.