巧克力情人

带着这种心情去做你喜欢的事情,让人们感觉甜蜜..

最近想象天堂的生活:不用思考.不用选择.不用语言去诉说解释什么.
 
 
朱古力是甜蜜的 我爱吃的 不忌讳发胖的.神秘的.她的配料是什么做成的呢>我想做她的人 一定诸入了爱情的原料..不然为什么如此甜蜜?
 
酒.寝室.人物..母亲.表演.妓女.包袱.思想.累.坚持.加油.爱.想念.珍惜

（一）古印第安式的宗教信仰
        印第安人认为万物有灵，死去的人将以另一种状态存在于世上。电影中多次出现娜査、艾连娜的亡灵，女主蒂娜家的狗在蒂娜妈妈艾连娜的灵魂出现的时候狂吠，男主拜德罗在花园提议与蒂娜私奔师那只狗冲出来追随他们，以及蒂娜与二姐柔丝在后院吵架时她家的鸡互相追逐，锅里的菜豆拒绝被煮熟等等情节都体现了这一点。
（二）墨西哥人注重吃的拉美饮食文化
        影片中出现大量墨西哥特有的美食文化，婚礼、生日、日常、新年，不同场合吃的东西都有所不同，影片中厨房中制作美食的场景和随后的宴会贯穿了整个故事，彻夜准备婚宴、花费大量时间精力烹制每一道食物都体现出墨西哥人对吃的注重。
（三）注重他人看法、家族利益优先的集体主义文化
       电影中蒂娜的母亲艾连娜、二姐柔丝非常看中家族名誉不惜牺牲自己小女儿的幸福，对于事情的第一关注点在于他人怎么看自己，所以艾连娜与柔丝都要求坚持“小女儿不能出嫁而要服侍自己直到去世”的传统，这两个角色是落后传统文化的迂腐继承者，从始至终都不曾质疑传统的合理性。蒂娜虽然在遭遇与挚爱被迫分开、心爱的外甥死去等一系列痛苦的事情后成为落后传统的反抗者，但她的反抗也是不彻底的，是被生活逼出来的。集体主义文化中，造就了她懦弱，善良的性格，从出生到死去都在为家庭利益贡献自己：服侍一家人起居、照顾柔丝的孩子、帮助外甥女争取幸福，即便，她总是不自知地把家庭集体、把他人利益至于自己的利益至上，所以她拒绝拜德罗提出的私奔，即便在她母亲死后也不愿夺回拜德罗，在姐姐死了，外甥女结婚，每个人都有了幸福后她才想到自己，才和拜德罗正式在一起，而压抑多年的爱情太过激烈，一把引燃了两人生命中的全部火柴，只留下耀眼的光芒与燃尽的残骸。
（四）男权主义、家长权威不可侵犯的大权力距离文化
       在影片中女主母亲艾连娜是家里的一家之主，她压制着所有人，无论是对于家里的仆人还是自己的女儿都永远一副命令的语气，不予亲近。影片中虽然没有很多笔墨描写男权主义，但在宴会上艾连娜跟神父说要让拜德罗和柔丝搬走时，神父回“家里总要有个男人”，他们搬走后果然家里出了事艾连娜意外死去，轻描淡写中即传达出了当时男人被看做是家里顶梁柱庇护者的男权观念，同时拜德罗当初为接近女主而娶女主姐姐的荒谬逻辑竟没有人觉得不对，他结婚后在家里成天无所事事什么都不做，人们默认男人都是对的，男人不能做“女人做的闲杂事务”也反映了当时男人地位比女人高很多的状态，人。这些都是当时社会整个文化下权力距离极大的特点。
墨西哥现在仍有少部分人坚持一些愚昧传统习俗，如父母示超过17岁还没嫁出的女儿为私人物品随意赠人等。
（五）情绪文化
      不同于受东方文化影响的中国属于中性文化，起源于南美洲文化的墨西哥文化在强皮纳斯的文化架构理论中属于情绪文化。影片中大部分人的情绪都是外露的，比如拜德罗与蒂娜双方爱情的流露、情感表达，娜査、今查对女主蒂娜的疼爱心疼等情绪都是直接流露出来的，人物的悲伤与同情一系列情绪都直接表现出来，即便是努力克制自己情绪维持自己形象的传统家长艾连娜，在大女儿赫露蒂斯离家出走后会悄悄去女儿房间哭泣，在得知孙子死讯的时候，眼神掩藏不住努力压抑的深刻的悲伤离家出走后会悄悄去女儿房间哭泣。而没受传统思想束缚的其他角色则表现得更直接更直白。
（六）不断发展的具有多样性和包容性的文化（印第安文化、欧洲文明、美国个人主义文化萌芽）
       因曾遭受入侵，有过一段殖民统治时期，墨西哥常住人口有印第安土著人、欧洲移民、美国人等，各种习俗文化冲突碰撞融合，呈现出多种文化共存。艾连娜和柔丝的显然是印第安传统文化的完全继承者，但同时也有个人主义的萌芽，她们在家族利益之后考虑的便是个人利益，所以她们完全不考虑蒂娜的权利、不关心她们的亲人；蒂娜的大姐蒂斯奔放热情，潇洒自由，注重事情的本质结果而不考虑中间其他人或是其他理由，没有成为传统的居家妇女而是行军打仗豪爽直率，则有欧洲人的影子，反映出一定的欧洲文化；蒂娜做着传统妇女的事情，但她在生活的逼迫下渐渐认清愚昧落后的传统害人不浅，奋起反抗，最终让传统在她这里终结，代表着文化的发展更替，个人主义的萌芽。


个人感悟：
       整部影片带着魔幻主义色彩，融合了各种元素：生活、习俗、文化、饮食、情感，很多人对蒂娜和拜德罗的爱情悲剧印象最深，而我们在观看中印象最深的却是女主母亲艾连娜给女主带来的伤害，无法理解一个母亲怎么可以对自己的女儿残忍至此，同时也无法理解女主为什么不一开始就反抗，为什么不反抗得更彻底一些，然而冷静下来一想，这都是没办法的事，她们都是那个文化大背景的产物，这是由不得她们的，如果不这样，那艾连娜就不是艾连娜，蒂娜就不是蒂娜，《浓情巧克力》也不是这个《浓情巧克力》了。尽管就个人（蒂娜和拜德罗）而言结局是悲剧式的，但就整个时代整个社会却是进步式的（愚昧的传统被打破）。整个社会就是在前人的努力与牺牲下才逐步发展成今天的样子的，而今天的我们终究也将成为“前人”，社会也因此得以不停发展进步。
       最后分享一下影片中个人最喜欢的一段话，是备胎医生John的祖母曾说的：“我们每个人诞生之初，体内都有一盒火柴，我们需要氧气和蜡烛来点燃它，只不过对我们人来说，氧气不是凭空而来的，比如说它来自爱人的呼吸，烛光则可以是任何东西——一首曲子、一句暗语、一个亲昵的爱抚、甚至细微的声音，总之什么都可以，只要可以触发燃点，然后点燃火柴。我们每个人都需要寻找属于自己的燃点，因为只有点燃我们生命中的火柴，才能让我们的灵魂得以滋养。”愿大家都能找到自己的燃点，点亮自己生命的火柴。

照旧，三年前的文字。已经不能全权代表我对电影的理解和对爱情、生活的理解了，但放在这里，以回顾一下从前自己的视角，也是有意义的。



Como agua para chocolate (Like Water for Chocolate) is a novel written by Laura Esquivel. Published in 1989, it was a long-running best seller in Mexico. (Shaw 37) It remained over a year on the best-seller list of the New York Times and was translated into twenty-nine languages. (Shaw 37) In 1991, Mexican film director Alfonso Arau, also Laura’s husband, decided to adpat the best-seller a film. Then Como agua para chocolate turned out to be the most commercially successful Mexican film of the 1990s. (Shaw 37) However, the high gross of the film did not give a true impression of the state of the Mexican film industry. (Shaw 38) In 1990s, low-quality genre films relying on sex and violence prevailed the national film market in Mexico. (Shaw 38)
The film does not reflect a true picture of Mexico either. Following the government’s model of public and private investment, involving Aviasco (a Mexican airline) and the Ministry for Tourism, the film “promotes a conservative, romantic image of rural Mexico that would please the Ministry of Tourism and that belied the reality of mass poverty and ever increasing urbanization.” (Shaw 39) “It is represented as a rural land, which has maintained its culinary and social traditions.” (Shaw 51) The director has commented “the government is very grateful because the film did a great job in promoting tourism and the image of Mexico”. (Shaw 39)


From Novel to Film
Como agua para chocolate tells the story around the Garza family during the Mexican Revolution (1910-1917). (Lopez-Rodriguez 62) In the ranch ruled by the family, Mama Elena makes decisions for her three daughters—Gertrudis, Rosaura, and Tita—regardless of their own desires. (Lopez-Rodriguez 62) Both the novel and the film begin with Esperanza’s (Tita’s niece) careful reading of an inherited cookbook from Tita, and it brings back the memory of the Garzas. Tita is born on the dinner table in the kitchen in 1910. She is brought up by the family servant Nacha in the kitchen, where she learns her talent in cooking. As the youngest daughter of the family, Tita is destined to care for Mama Elena till the last second and is prohibited to marriage. However, in a family dinner, young Tita met a young man, Pedro Muzquiz. They soon fell in love with each other and claimed each other as the only love in the life. Pedro proposes to the Garzas, but Mama Elena turns it down. Instead, Pedro marries Tita’s sister Rosaura in order to be near to Tita. While Mama Elena keeps tormenting Tita, Tita confines herself in the kitchen, making all the delicious and creative dishes for the family. Magically, her emotion is blended into every dish she makes and has the ability to influence everyone who tastes the food she makes.
In Esquivel’s novel, the story is presented as a cookbook, sequenced with twelve months, with a recipe for each month. The twelve recipes each conclude a chapter, carrying special historical and ethnic implications within the ingredients and the procedures. Although the loving way the camera focuses on food makes clear to the film audience that food is a central character in this story”, the film shifts away from the original structure of the novel and brings the storyline without recipes as separation. (Lopez-Rodriguez 63) Many detailed dishes mentioned in the novel is only given a glimpse in the film, or even omitted, while the other ones are described carefully with the camera language. For instance, the February recipe of capones (capons) and the April recipe of mole de guajolote con almendra y ajonjoli (turkey in almond and sesame sauce) are both cut from the plot, and caldo de colita de res (oxtail soup) and tortas de Navidad (Christmas rolls) are only provided with the simplest description. The several recipes Alfonso Arau focuses on are pastel Chabela de bodas (Chabela wedding cake), codornices en petalos de rosa (quail in rose-petal sauce) and chiles en nogada (chili peppers in walnut sauce). Coincidently, two of these three dishes are specially made for the two weddings in the film, and each brings out a different effect. The emphasis of food in the film and the implications of the recipes will be explored later in the essay.
The rest of the story continues in a traditional way. Rosaura soon delivers a baby, and Tita uses her virgin breast milk to feed her. After finding out the vaguely unbroken relationship between Tita and Pedro, Mama Elena sends Pedro and Rosaura away, as well as the baby. Away from Tita, the baby dies, and the reason is believed to be the food. Tita goes insane and hides herself in the dovecote until John Brown, the ranch doctor, picks her up to his house. John takes care of Tita and helps Tita to reconstruct the confidence to face life. Determined to start a new life, Tita accepts John’s proposal. The moment Tita and Pedro reunite on the ranch, both of them know that their passion for each other does not go away. The day John leaves the ranch they have an affair. As a husband, John is always so understanding and tolerant. He forgives the adultery. At the end of the film, John drives car away for business. Pedro takes Tita to the barn house. In the house, the ghost of Nacha appears and lights every candle in the house. In the soft yellow light, Pedro and Tita’s love “finally blossom”. (Hart 172) Metaphorically indicated by the narrator, “all the matches inside Pedro’s body light at the same time”, and the brightness brings him to the eternal of peace. Tita begins to swallow matches, with the memory involving Pedro and her flashing back. She catches fire from the inside meets Pedro in the tunnel to eternity of love.
As the script written by the author of the novel, the film is able to retain the original flavors. The story is kept as original, and with the help of visual language, the film can do what the words cannot do. It puts imagination into reality on screen as well as transforming the story into a sumptuous Mexican feast.


Food in Como agua para chocolate
As “an important topic in the field of cultural materialism”, food is able to “bring to the forefront those elements of life that were traditionally overlooked because they belonged to the domestic sphere and not to the public, broader, male sphere.” (Lopez-Rodriguez 66) Many directors apply food as a medium to convey the meanings. In Ang Lee’s Eat Drink Man Woman, food is a mirror to Chinese culture and ideology. In Lasse Hallström’s Chocolat, food is a gifted creation of magic potion to cure the lagging and obstinacy of the town residents. In Sandra Nettleback’s Bella Martha, food gives a place for communication and enables people to know each other.
In Como agua para chocolate, Alfonso Arau puts tons of emphasis on food. Food plays the central role artistically and commercially. Preparation for food is provided close-up features in the film. The scenes are treated with tenderness and sequential details. Lighting, music and narratives accompanies to strengthen the emotions implicated by the scenes. More than visual enjoyment, the recipes also connect the characters and the storyline. Conclusively, the use of food generally serves functions in four dimensions: as a tag of identity, a language of communication, an expression of creativity and freedom, and an eye into Mexican society in revolutionary and contemporary period. It also offers a space for the story to turn into a magic realistic fairytale.

Language of Expression
Food is a metaphor for emotion throughout the film. Gifted as a very sensual woman, Tita is “repeatedly portrayed tasting, seeing, smelling, touching, and hearing. It is only logical that she communicates through an activity that comprises all the senses.” (Lopez-Rodriguez 68) At the time when Tita and Pedro firstly fell in love, Tita described “Pedro’s gaze on her shoulders” as “what raw dough must feel when it comes in contact with hot oil”. “Bubbles break out of her body”. The medium of food solidifies abstract feelings in Tita’s world, and Tita is able to resort to expressing her feelings through the creation of delicacy in the limited area of kitchen. In the kitchen, food is translated into a new language. In the film, Tita’s recipes are always related to whatever is happening to her at the time. One of the scenes is that in which Tita prepares the quails in rose petal sauce. Right after “Pedro has given her the roses to congratulate her on her excellent culinary skills on the anniversary of her first year as the house cook, and she uses them in defiance of her mother in this dish.” The cooking process is split in sequential details—peeling of rose petals, bundling the quails, grinding rose petal sauces, and adding a drop of mysterious seasoning—representing as an expression of her love for Pedro. “This scene is accompanied by lush piano music that highlights the connection between romance and the culinary process.” (Shaw 51) Here, “cooking is Tita’s way of telling him what she cannot vocalize.” (Lopez-Rodriguez 69)
Realizing the possible communication between Pedro and her through food, Tita feels “compelled to create more and more recipes that will keep alive the love” that Mama Elena and Rosaura had tried to prohibit. (Lopez-Rodriguez 69) “It is this need to create or re-create delicious dishes that moves Tita to put in writing all the recipes she has received from Nacha; that is how their cookbook is born.” (Lopez-Rodriguez 69)

Territory of Freedom and Creativity
We can understand that the kitchen offers Tita an area of “unrestricted freedom” to escape from Mama Elena’s tyranny. (Shaw 50) In the kitchen, Tita is given a free voice to express herself, a territoriality for creativity. (Lopez-Rodriguez 67) Mama Elena tries to control everything of Tita, restricting her from marriage according to the old convention that the youngest daughter should care for mother till death. But her power is limited outside the kitchen. Due to the lack of culinary experience, she never tells Tita what to cook and how to cook, so cooking provides “an outlet for the creativity Mama Elena is always restraining.” (Lopez-Rodriguez 68) So here Tita finds “a means of self-definition and survival”. (Lopez-Rodriguez 66)
“The liberation through food and cooking is not limited to Tita alone, but also occurs for the people who eat her meals.” (Lopez-Rodriguez 68) In Tita’s territory, her emotions evoked by personal experience are also transferred to others through food. “She feels and she makes others feel.” (Lopez-Rodriguez 69) When blending the flour and eggs for making Rosaura and Pedro’s wedding cake, Tita unintentionally drops a tear into the ingredient. It turns out that during the wedding reception, whoever has a bite of the cake, is reminded of the sorrow of lost love. In an old Spanish love ballad, a sense of melancholy and frustration from “love of their lives” spreads through every guest and the scene culminates in a collective of vomiting. “Uncontrollable outbursts of pleasure, sadness”, which is usually forbidden in the ranch, is let free with the help of Tita’s food. (Lopez-Rodriguez 68)

Kitchen as An Eye
Esquivel has pointed out in an interview: “the kitchen, to me, is the most important part of the house. It is a source of knowledge that generates life and pleasure.” (Hart 173) Como agua para chocolate offers a “feminine kitchen-eye’s view of those turbulent years during Mexican Revolution (1910-1917), which is “at odds with the masculinity rhetoric of the history books with their emphasis on battles and the struggle for civic power.” (Hart 173) “The film, in its content, including modernization, the increase of social inequality, and the growth of feminism. This can be seen in the way that it ignores all of these issues and reinvents the past in such a way as to negate social history. The image of Mexico sold to national and international audiences through the film are filled with nostalgia for a mythical past. In this reinterpretation of the past, gender roles are clearly delineated, class and ethnic tensions are ignored, and nobody goes hungry.” (Shaw 39)
The cookbook received by Esperanza is an essential clue in the film. It connects different races and cultures in the film and “symbolizes not only the loving relationship among women but also the preservation of Nahuatl heritage and its mixture with Spanish and Ceole elements”. (Lopez-Rodriguez 70)
“Nacha and Chencha, members of ethnic minorities, have been denied by the dominant white upper class the possibility of expressing their knowledge through any medium other than the recipes they cherish. By passing the recipes on to the next generation they are not only able to communicate some practical information but to preserve elements of an indigenous culture that would otherwise be lost.” (Lopez-Rodriguez 69)

Construction of Fairytale
Labeled as magical realism, Como agua para chocolate is consisted of numerous fantastic scenes beyond reality and a bunch of fairytale traditions. The main roles in the film have their counterparts, which can be found in traditional fairytales. The romantic heroine Tita is like Cinderella, arduous and kind, while at the meantime suffering the inequality caused by a wicked mother, Mama Elena. Tita is so talented as a maternal role model that she even knows how to deliver the baby. “Bound to the kitchen from the moment of her emblematic birth in this very same room, Tita is treated first by her mother and later by Rosaura as just another servant.” (Lopez-Rodriguez 67) The setting even parallels with the story of Cinderella. John Brown, the fiancé of Tita, is the benevolent, careful and tolerant doctor that can be found in many 18th century fairytales as a positive figure without imperfection. In Como agua para chocolate, his tendance heals Tita’s sorrow for love and his great breath of mind forgives the adultery between Tita and Pedro. Nacha and Chencha are the servants who are satisfied with the status of being ruled and have a loving relationship.
Moreover, besides the setting of the roles, the strange alchemical reaction brought by food and the abrupt passion of people all tell the story in the language of fairytale.



Reference:
Ching, Eric, Christina Buckley, and Angelica Lozano-Alonso. Reframing Latin America. Austin: University of Texas P, 2007. 286-305.
Como Agua Para Chocolate. Dir. Alfonso Arau. Perf. Marco Leonardi, Lumi Cavazos. Videocassette. Buena Vista Home Video, 1992.
Esquivel, Laura. Como agua para chocolate: novela de entregas mensuales con recetas, amores y remedios caseros. México, D.F.: Editorial Planeta Mexicana, 1989.
Esquivel, Laura. Like Water for Chocolate: a Novel in Monthly Installments, with Recipes, Romances, and Home Remedies. Trans. Carol Christensen and Thomas Christensen. 1st ed. New York: Doubleday, 1992.
Halevi-Wise, Yael. "Storytelling in Laura Esquivel's Como agua para chocolate." The Other Mirror: Women's Narrative in Mexico, 1980-1995. Ed. Kristine Ibsen. Westport, Connecticut: Greenwood P, 1997. 123-130.
Hart, Stephen M. A Companion to Latin American Film. Woodbridge: Tamesis, 2004. 171-178.
Lopez-Rodriguez, Miriam. "Cooking Mexicanness: Shaping National Identity in Alfonso Araus Como agua para chocolate." Reel Food. Ed. Anne L. Bower. New York: Routledge, 2004. 61-73.
Segovia, Miguel A. "Only Cauldrons Know the Secrets of Their Soups." Velvet Barrios: Popular Culture& Chicana/O Sexualities. Ed. Alicia G. Alba. New York: Palgrave Macmillan, 2003. 163-178.
Shaw, Deborah. Contemporary Cinema of Latin America: Ten Key Films. New York: Continuum, 2003. 36-51.


April 6, 2008

　　在墨西哥，每个家庭中最小的女儿要等母亲去世后才能出嫁。蒂塔的母亲是非常传统的，她对这一传统的合理性坚信不疑。蒂塔从生下来就是作为母亲的侍女，她幼年在厨房度过。长大后成为一代食神。
　　
　　 青年佩德罗和蒂塔一见钟情，但是蒂塔是母亲的非卖品。为了能接近心爱的人，他娶了蒂塔的姐姐。此后，食物成了蒂塔的发言人。它在婚宴上广播蒂塔的伤心，它向佩德罗传达蒂塔的爱抚，……。
　　
　　 影片的最后，蒂塔终于等到母亲和姐姐都去世，她和佩德罗点燃了所有爱情的火柴，乐极升天。

http://toppi.blogbus.com

又看了一遍电影《巧克力情人》，前几天是在掌上电脑上看的，画面太小。
我想看一下南美女人丰饶的裸体在大屏幕上是怎样的奔放和魔幻，可是电脑屏幕还不够大。
如果在银幕上，应该更加魔幻吧。然而这个尺度的电影影院肯定不会放映的，或者删除镜头。

好多年前，也不知道是多少年前，在电视上看过片段，应该只是电影开头的一部分吧。
读洁尘的《小道可观》，看到她说小说《恰似水之于巧克力》，突然想到应该是我看过的电影。
后来在网上查了一下情节，果然有我看到的那一幕，就是这个小说改编的电影。
那个电影，有印象的只是女孩接过男人递过来的玫瑰抱在胸前，裸露的皮肤被划得鲜血淋漓。
我是看到洁尘说“为了接近自己爱的人，佩德罗娶了罗莎乌拉”才想到那个电影的。
因为突然就想到电影中那个男人说，接近自己深爱的女人唯一的办法就是和她的姐姐结婚。

当年玫瑰花划伤胸脯的一幕让我感到非常震撼，不知道当时在日记上是怎么写的了。
时隔多年再看电影，发现只是三条血纹，没有当初的震撼，太过轻描淡写了似的。
对于影片中动人心魄的爱情，也没有当初那么感动了。好似司空见惯。

相对于女人的执著和勇气，男人实在是太过懦弱了。
佩德罗只是对蒂塔一味深情，可是除了深情之外他什么都给不了她了。
他听从岳母的安排，带着妻子远走他乡，留下蒂塔一个人伤心欲绝，每天面对刁钻无情的妈妈。
当再次重逢之后，除了执著不变的爱恋以外，对一切仍旧只有顺从，改变不了命运的安排。

爱情真的是唯一的救赎吗？在失去爱情的日子里，蒂塔只感到无尽的寒冷。
到底什么样的爱情才能给人救赎？是佩德罗带来的激情燃烧，还是约翰传递的安全和平和。
安全和平和点燃不了内心的火苗，但是太过强烈的激情却容易很快燃尽，也容易失火成灾。

我觉得，多年之后重新与这个电影重逢，我的立场已然有所改变。
我已经不只是单纯地被他们历久不衰的爱情所震撼，竟然关照了他们爱情的牺牲品罗莎乌拉。
为了接近蒂塔，佩德罗才娶了她，除了和她生育孩子之外，一丁点的爱情也给不了她。
她的一生就这样被毁掉了，从来没有得到公正的对待，没有品尝过爱情的甜蜜。
这样的损害，纵使别人拥有再怎么伟大的爱情，又有什么资格强加给她呢？
曾经觉得爱情可以是一切的理由，现在却觉得谁也不应该以爱的名义伤害无辜。

很少看到这么精彩的魔幻现实主义色彩的电影。
这是一场名副其实的盛宴，食色性的盛宴，美妙无比，让人回味无穷。
蒂塔的爱情，以食物的形式入侵佩德罗的感官和身体，她的愤怒和悲伤，也以食物来发泄。
赫特鲁迪斯在吃了蒂塔做的玫瑰花瓣鹌鹑之后引发了体内潜藏的情欲，在原野上裸奔。
那样丰饶奔放的肉体真的非常迷人，比起女人们追求的纤细苗条的身体似乎更有健康美感。

几十年之后，一切障碍解除，他们两人再也无须向任何人负责，能够自由地相爱了。
老厨师娜恰的灵魂为他们布置了一个华美的床，他们在那张床上纵情地做爱。
几十年的欲望彻底迸发，内心所有的激情被点燃，佩德罗燃尽生命的火花死去了。
为了和他在一起，蒂塔吃掉了好多火柴头，点燃通往佩德罗的隧道，和他再次相聚。
她一边嚼火柴头，一边闭上眼睛唤起记忆，她和佩德罗一幕幕激动人心的往事再现眼前。
明亮的隧道终于打开，她毫不犹豫地向佩德罗走去，他们将永远不再分离。
佩德罗和蒂塔的肉体迸发出明亮的火花，点燃了整个房子。
房子变成了一座欢快的火山，向四面八方喷发，形成了五彩缤纷的焰火。
焰火整整喷发了一个礼拜。

此时此刻，我又觉得面对这样刻骨铭心的爱情，罗莎乌拉的牺牲实在是太不足道了。
任何事情，任何人，都要像这样的爱情让道，罗莎乌拉的悲哀又算得了什么呢？
谁让她愿意和不爱她的人结婚，况且她也没有爱上他。

我喜欢这样的故事，这样穿越岁月，经久不衰的爱恋才能打动我。
是真的，只有爱人的呼吸才能点燃内心的火苗，让生命焕发光彩，让生活不再空虚。
但愿我们内心永远都有这样的燃烧着的，或者等待点燃的火苗来温暖着自己。

人生需要欲望，方才能有活下去的勇气。
我还是喜欢管这个片子叫做《浓情朱古力》，最早听到的名字。虽是始于爱情终于爱情，整个电影倒不是爱情那么简单。受缚于传统的家庭，不仅是爱情，各方面的欲望都被严格限制，伤心之时不能伤心，痛苦之时不能哭泣。女主的两个姐姐，一个是严格遵守传统的蠢货，一个是离开家参加了革命军得到了爱情和幸福生活的豪放女子，唯独女主，守护者家庭和自己的欲望，一直等待可以爱人团聚的那天。
我是不太清楚影片拍摄的背景，能感觉到影片借爱情之名义表达变革的欲望，因此在镜头和台词方面都很大胆。初看之时会觉得人物形象的塑造过于，但是女主的漂亮，将饮食和欲望相互交融发展的剧情倒是很引人入胜，越到后半部分影片就越加丰满起来。