Unique, Yet Universal: Wedding Scenes, Journey and Marriage Story

In the middle of the first episode of Hotstar’s Scene from a Marriage, Jonathan (played by Oscar Isaacs) is told by his friend that if you are faithful in a marriage ‘only because it is a rational decision’ it is almost impossible to do so. . “Why not?” Jonathan asks rhetorically. In the second episode, he is informed by his wife that she has fallen for someone else. What then begins is a gradual descent into chaotic territory for a couple that comes across as measured and beautiful. Nothing happens overnight, the series tells us. Not even the dissolution of the chiller marriage seems to have happened.

On the other hand, in Netflix’s Norwegian film The Trip, anger and resentment drive a couple down the slopes of a vengeful hill. The only place to go to the top of this poisonous summit is down, either slowly or all at once with a flurry of passionate gall. The couple opts for the latter for a violent, almost comically inept ending. It turns out that couples who have had a change of heart can’t convince the other to see their side of the ruins, let go of the parts they cherish and want to survive.

Directed by Hagai Levy, Scene from a Marriage is a recreation of Ingmar Bergman’s classic of the same name. When it came out in the ’70s, Bergman’s series was cited as the reason behind the boom in divorce rates in Sweden. Not long ago, Noah Baumbach romanticized divorce through Marriage Story, a soft song for break-ups through the lens of the past. In contrast, wedding scenes are more caustic, more action and therefore more intense. Set almost entirely inside the confines of a home, this campfire-turned-coddiness hell-to-hell takes you into a verbal assault of truth, honesty so cold and cool that it leaves you with little warmth. Can scream. Even in intimate scenes, especially those where Jonathan and Mira, played by a terrifying Jessica Chastain, share vulnerable moments, Levi’s camera lurks, as if hiding from her own protagonist, Gathering your insistence in the envelope of a moment that is usually talked about ends in the script.

While there is a blasphemous quality to how casually the protagonists of Scene From a Marriage speak of their anger and admit their flaws, in The Trip, the couple played by Noomi Rapres and Axel Heaney, put their anger into one. turned into a fiery, combustible farce that presents. They are both violent and inconsistent. Whereas in the former there is a sense of suffering on both sides, in the latter the couple see their disillusionment as an act of not talking in time, not telling the other how they really feel. It’s often said that it helps if your significant other understands your work, but in The Trip, both find it unbearable that they know too much. In the scene from a marriage, while Mira works at a top-end corporate job, Jonathan slogs satisfactorily, in a low-paying academic. However, this perception of the academia is in need of some late correction, as the art world often fetishizes its own struggles. That said, both pieces of art are trying to say the same thing – that it has no formula because the number of variables is beyond recognition even for those who have been doomed and returned. The arbitrary nature of the one you love naturally gives rise to the arbitrary nature of your marriage to flourish in the aftermath—fruit or fracture.

Despite their unique perspective, all of these stories view marriage as an uncertain object. “Marriage is a means, it is not an end,” said Jonathan, a researcher collecting material on the dynamics of modern marriage. These stories prove that uncertainty is a powerful principle that binds relationships. Which begs the million-dollar question – do happy marriages even exist? Definitions are important in this context, both to outline what is happy and to what end it can be extended to ascertain its veracity. What, if anything, is true about the claim of love, if it is, at the end of the day, a state of feeling and not a state of being?

The exuberance ensures that love remains mysteriously elusive even when surrounded by the rigid, yet elaborate walls of tradition. Conceptually, the idea of ​​coupling echoes the simplistic worldview that something as the foundation of relationships can be ambiguously divided into two living parts. While many of them are in a state of flow that becomes prominent, like scars, what they leave behind rather than what they chew. In wedding scenes this fracture is implied by the involvement of an outsider. In The Trip, the source of the frustration is internal, where the former lovers have evolved to become villains in each other’s story. Somehow, these stories tell us, some amount of farce is inevitable, some amount of anger justified and violence, verbal or physical, imminent. It seems like it takes a whole world to put this bag of water together. Everything, even lies and pretense, must be put to the service of prevention. To ensure that the truth is never allowed to become a needle, but remains harmlessly coiled, as if holding it all together, it is an illusion of control and purpose.

Leave A Reply

Your email address will not be published.