Compassionate but not without an anguish to the indifference and cruelty of the society, It Rains on Our Love has the sensibility of the French poetic realism while the story is framed by an “angelic” presence of a narrator who also serves as the defender of the suffering couple in the climactic court room scene. There’s still manipulative sensationalism that pervades the plot, but in Bergman’s hand, the film never loses the introspection.
The directorial debut of the great Ingmar Bergman looks like telling two stories in one film, uneven in tone with a sensationalist plot, discerning the unadorned countryside from the seductive big city by superficial characterization and maternal differences between two mothers. Still we saw glimpses of Bergman’s obsession on tormented and sinful characters, shadow of the looming death, conflicting interrelationships between women, and above all, his sensibility on images and effective mise-en-scène.
The Rearward View of Life
Near the end of the film Yi Yi, there is a funeral, the little boy Yang-Yang (Jonathan Chang) reads out the letter he wrote for his deceased grandma (Ruyun Tang), saying he would like to be a person of showing stuff others don't see, and now when he sees his baby cousin, he would feel old too. Every time when I watch this ending, I can imagine director Edward Yang expressing his motivation in making…
24 Frames is the contemplation of the:
1. Nature and its wonder;
2. Animals, their noises and interactions;
3. Climates, the wind, the snow and the rain;
4. Off screen sounds, and the unseen existence;
5. Intervention of human, from presence of vehicles to destruction by killing;
6. Sudden occurrence of cruelty;
7. Stasis, slowness, and condensation of movements;
8. Frame within a frame composition;
9. Imagination beyond a frame of photo;
10. Poetic sentimentality;
11. Observation of surroundings;