In "Dangerous Therapy", David Cronenberg reveals the hidden history of psychoanalysis. The opening scene of "Dangerous Therapy" directed by David Cronenberg shows a woman screaming frantically, her face pressed against the window of a galloping carriage. She is 17-year-old Sabina Spearrhein (Kayla Knightley). This gloomy, witty, and intellectually demanding movie revolves around her true life story. The film explores the anecdotes at the beginning of psychoanalysis, endows Sigmund Freud and Carl Jung with humanity, and shows the tension between their father and son. The different interpretations of the subconscious by these two pioneers of psychoanalysis are still the basis for us to understand how we know ourselves. The screenplay written by Christopher Hampton closely references his own drama "Talk Therapy" in structure and dialogue. The play was brought to the stage by the Royal National Theatre in London in 2002, with Ralph Fiennes as Jung and Jordi May as Spiel Rhein. Both the drama and the film inherited John Cole’s "Extremely Dangerous Way" published in 1992. This book on the history of psychoanalysis is very informative and does a great job of Freud/Jung’s disagreement. This reinterpretation introduces his research on Spearrhein and her influence on the theories and methods of the two. Spearrhein was talented and intelligent, was born in a Russian Jewish family, and was well-educated. In 1904, she was sent to Zurich to treat her violent hysteria that prevented her from taking care of herself. She was one of Jung's first batch of psychoanalytic patients, and his success with her experimental therapy-"talk therapy"-allowed her to enter medical school in the second year and obtain it five years later. Graduated with a degree in psychology. She married a doctor who was also a Russian Jew and had two daughters. She practiced medicine and published papers in Geneva for 10 years. Her paper was cited by Freud and allegedly influenced her theory of "death instinct". . In 1923, she returned to Russia. During the time she left, Russia had become the Soviet Union. She wants to teach psychoanalysis there, but history is not on her side. Her three brothers were murdered during Stalin's purge, and her husband was insane before his death. Spearrhein and her daughter survived the Stalin era, but in 1941, after the Nazis invaded her hometown-Rostov on the Don River-she was executed by the Nazis. Like Hampton’s plays, Cronenberg’s movies (although the film looks like a standard Hollywood style, but actually bears Cronenberg’s deep imprint) took place between 1904 and 1913, describing Jung’s views on Spiel Rhein. Diagnosis and treatment, and the stormy love between them that is not entirely secret. At the beginning of the story, Spiel Rhein was still Jung’s patient. Jung was married and had a devastating Oedipus complex with Freud. This forbearing and dramatic story is based on two interrelated triangles. In these two triangles, Spearrhein is trapped in the middle, which is a destabilizing factor for the entire structure. The more obvious-or the more traditional triangle-is composed of Jung, Spiel Rhein, and Jung's wife Emma (Sara Gordon). Another triangle relationship can only be discovered by the viewer using a psychoanalytic perspective, and this is what the movie encourages us to do. Cronenberg showed the irony of the theoretical traps of psychoanalysis, such as transferences and counter transferences, projections and introjections, etc., and sometimes produced quite hilarious effects. . (Like "Social Network" and many TV series with medical background, "Dangerous Therapy" also has a large section of professional introduction). After breaking up with Jung, Spiel Rhein felt that she had been betrayed and abandoned. She wrote to Freud requesting information. This is actually a model for her daughter to sue her father for revenge against her elder brother. Both Spearrhein and Jung have a fantasy of unfaithful love, just like the brothers and sisters Ziegmund and Zieglind in Wagner's "The Ring of Nibelung", they gave birth to a pure blood after the union Gfried. But Jung valued his reputation and his relationship with Freud, who is morally clean, more than his relationship with Spiel Rhein. Therefore, Jung wanted to hide this relationship and claimed that the patient was a conjecture. Mad, he resisted her aggressive sexual demand. In the end, Spiel Rhein made him confess part of the facts in shame. But Jung’s initial deception was even deeper than his overstepping in sexual relations, and Freud’s doubts about Jung’s involvement in mysticism led Freud to question whether Jung should be what he should be. Successor, and this eventually led to a complete break between the two. This relationship occupies most of the plot of "Dangerous Therapy". This story is too dramatic and not true. This also determines that in real life, this story can easily be ignored for decades. But in the mid-1970s, people found a stored document, which was left by Spiel Rhein when he traveled to the Soviet Union-and this is also an excellent example of parapraxis. Among these documents are the correspondence between her and Jung-Freud, as well as her diary, in which she pours out her romantic passion for Jung and their rugged emotional experience. In the diary She substituted the code word "poem" for sex. Even after reading these eye-opening files, readers (even if they are entertained by the flirting on paper) can hardly tell where they have reached—they have homered, or are out of favor. Flirting on third base? In Hampton's play, one scene shows blood on the sheets, and in other scenes they have passionate kisses. But in Cronenberg's film, a little blood—clinical evidence of loss of chastity—is not enough. "I'm not crazy, you know." When Spiel Rhein said this, she was sitting in Jung's office chair, looking like a frightened, besieged little animal, her face and body were all different. Destroyed by a contradictory impulse. Her jaw was bulging and stiff; her lips tugged back to show her teeth; her head was slanted; her body collapsed and sank into a chair; her hands were tightly twisted together, waving up and down, constantly wanting Rubbing the thigh, as if at the same time surrendering to and overcoming the desire to masturbate. She was so afraid of what she might say, that every word seemed to be choked back before it came out of her mouth. In many movies, The rich dynamics (kineticism) is accomplished by camera movement and editing, and this technique is usually used in large-scale action scenes. If the dynamics of the performance on the screen are limited to the dynamics controlled by the nervous system of a character, it is difficult for the audience to maintain a sense of neurological and physical identity with the character throughout the narrative process. I am not saying that the audience wants or does not want to do this, but to establish a sense of identity with the nervous system of the characters on the screen and realize emotional substitution or intellectual understanding from it. Do we still need to emphasize that the most important theme in Cronenberg's work is how to interpret the body and mind? By placing the film in the world of psychoanalysis and subjecting his protagonist to conversion hysteria (from psychological conflict to physical conflict), Cronenberg has an almost comic-style directness in dealing with this subject. , And achieved a slightly different perspective from the physical horror of Dead Ringers, but even so, Dangerous Therapy still has something in common with the former. In these two films, the female patients with a masochistic mentality survived the treatment of a male doctor, and their own pathology is the same as the mechanism that allows them to gain strength. It was Jung’s anti-Semitism that Jung’s anti-Semitism was not the crude and unethical treatment that caused Spiel Rhein to collapse. Lloyd was worried. In the past decade, questions about Jewish identity and anti-Semitism began to appear in Cronenberg's work, and in "Dangerous Therapy," Freud's role brought these two themes to the front of the stage. Freud chose Jung as his rightful heir because he believed that psychoanalytic research needed an Aryan. But when he began to question Jung's intelligence, talent, and ethical position, he found that Jung was slandering and using a Jewish woman, which made Freud feel a great burden. "We are and will always be Jews." Freud wrote to Spiel Rhein. This letter was reinterpreted in the movie and another letter was added in which he was pleased that she had abandoned the illusion of "Prince Aryan". At this point you will even feel sorry for the weak and self-deceiving Jung. Letting Fassbender play Jung obviously reflects Cronenberg's intention to create a sympathetic Jung. Even when playing the number one villain, Fassbender has a deep and sensible sadness, but this is not the point. "Dangerous Therapy" is a role-driven film. The performances of several actors are excellent, especially Keira Knightley. Not only did she take great risks to perform weird behaviors in the opening scenes of the film, but throughout the film, she played Spiel Rhein maintained a unique psychological fragility and intellectual firmness—— It is a feeling that the body and mind are burning at the same time. In the movie, Spiel Rhein has not been completely cured. The way she can control her physical symptoms and the degree of control are uncertain, depending on her perception of her own internal and external dangers. Jung is her terrible opponent. Under his cold expression and professional style, there is confusion and even despair hidden. (I don’t know if there are many audiences who will identify with Jung and understand the film through his perspective.) In Jung’s early analysis and treatment of Spiel Rhein, she confided to him the cause of her hysteria—— She felt humiliated not only because her father beat her, but also because she had sexual urges towards him when his father did it. At this time, Cronenberg gave Jung a close-up, and we saw a trace of excitement flash in his eyes, which can easily be interpreted as a sense of victory that he was full of because of the success of talk therapy. But when he whipped her ass in her bedroom a few months later, we knew that things were much more complicated than we originally thought. There is a disclaimer in the subtitles at the end of the film: "This film changes based on real events, but some scenes, especially those that take place in private situations, are purely speculative." Even if it is a melodrama, crazy Die flooded with professional language, and a whipping scene in the bedroom (although not grandiose), "Dangerous Therapy" is still a restrained movie, if not serious. It has a Bresson style for the obscuration and compression of time. January and January, and even a year and a year have passed, the passage of these times is marked by the sudden closing or opening of the door. Howard Shaw's soundtrack is somewhere between the late Beethoven and the early Wagner, and his emotional performance is very tolerant. What makes the film's form as radical as its underlying theme—Freud's subconscious concept—is the activity that Cronenberg puts between two shots, three shots, and reverse perspective shots. Wrench (or use the generic name-lens/reverse lens). In recent movies, Cronenberg likes to use a technique similar to a wide-angle lens, in which the space is flattened and the actors in the foreground are out of proportion to the actors in the background. Most directors who use wide-angle lenses try to hide this distorted proportions in the motion of the lens. However, here, especially in the "talk therapy" scene, Cronenberg uses this disproportionateness as a tool to show subjectivity: how each person's self-fascination obscures one's own observation and understanding of others. vice versa. "Dangerous Therapy" has become a model for studying why there is no real interaction between people. If the beginning of the movie is considered to be a scene of Spiel Rhein, then the scene at the end and the last line belong to Jung. Spiel Rhein, who was married and pregnant, came to say goodbye to him. The strange thing is, here we finally vaguely feel for the first time that this is indeed a serious love affair for him, and its significance to him is as important as it is to her. They were sitting on the lakefront in the backyard of Jung's house. When Spearrhein got up and left, Jung suddenly withdrew from the long catatonic depression (catatonic depression), and gave an explanation for why he abandoned her: "Sometimes you have to do something impossible. Forgiveness is just for life to continue.” (In reality, this sentence is the last sentence of Jung’s last letter to Spiel Rhein.) This is a painful, sentimental and romantic moment, but When I left the cinema, I couldn't help thinking of the unforgivable compromises Jung made when he sat on his Swiss lake during World War II. This is an important movie, no doubt. Suddenly withdrawing from depression), he gave an explanation for why he abandoned her: "Sometimes you have to do something unforgivable, just for life to continue." (In reality, this sentence is written by Jung The last sentence of the last letter to Spiel Rhein.) It was a painful, sad and romantic moment, but when I left the cinema, I couldn’t help but think of when Jung was sitting in his Switzerland during World War II. The unforgivable compromises he made when he was by the lake. This is an important movie, no doubt. Suddenly withdrawing from depression), he gave an explanation for why he abandoned her: "Sometimes you have to do something unforgivable, just for life to continue." (In reality, this sentence is written by Jung The last sentence of the last letter to Spiel Rhein.) It was a painful, sad and romantic moment, but when I left the cinema, I couldn’t help but think of when Jung was sitting in his Switzerland during World War II. The unforgivable compromises he made when he was by the lake. This is an important movie, no doubt. If the opening of the movie is considered to be a scene of Spiel Rhein, then the scene at the end and the last line belong to Jung. Spiel Rhein, who was married and pregnant, came to say goodbye to him. The strange thing is, here we finally vaguely feel for the first time that this is indeed a serious love affair for him, and its significance to him is as important as it is to her. They were sitting on the lakefront in the backyard of Jung's house. When Spearrhein got up and left, Jung suddenly withdrew from the long catatonic depression (catatonic depression), and gave an explanation for why he abandoned her: "Sometimes you have to do something impossible. Forgive things just for life to continue.” (In reality, this sentence is the last sentence of Jung’s last letter to Spiel Rhein.) This is a painful, sentimental and romantic moment, but When I left the cinema, I couldn't help thinking of the unforgivable compromises Jung made when he sat on his Swiss lake during World War II. This is an important movie, no doubt. If the opening of the movie is considered to be a scene of Spiel Rhein, then the scene at the end and the last line belong to Jung. Spiel Rhein, who was married and pregnant, came to say goodbye to him. The strange thing is, here we finally vaguely feel for the first time that this is indeed a serious love affair for him, and its significance to him is as important as it is to her. They were sitting on the lakefront in the backyard of Jung's house. When Spearrhein got up and left, Jung suddenly withdrew from the long catatonic depression (catatonic depression), and gave an explanation for why he abandoned her: "Sometimes you have to do something impossible. Forgive things just for life to continue.” (In reality, this sentence is the last sentence of Jung’s last letter to Spiel Rhein.) This is a painful, sentimental and romantic moment, but When I left the cinema, I couldn't help thinking of the unforgivable compromises Jung made when he sat on his Swiss lake during World War II. This is an important movie, no doubt.
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