The film involves at least the following levels of speech: Hoover's experience - Hu Buddha wrote from rumors about his own experience - Hoover's experience in the eyes of others - Hoover's experience in the film. These levels do not complement each other, in fact, they are in a situation of dismantling each other and contradicting each other - which makes the (so-called) real Hoover hidden in the debate. In particular, this kind of speech is more confusing when it is intertwined by the following factors: neurosis (transvestite, stuttering, Oedipus complex), emotion (homosexuality or friendship), political struggle and desire for power (secret dossier, communist threat) , Activists, Law & Anarchism), Economic Crisis, Crime (FBI Saga & Kidnappings, Gangs). These factors become both the background of Hoover's life and the creator's ambition and intention when he speaks of Hoover - to shape a multi-faceted Hoover. It should be noted that this multi-facetedness is not uniform and fair. There is always the possibility of tampering with each other and replacing each other. It depends on what kind of Hoover the film decides to show in front of the audience. In the investigation, it involves the operation mechanism of ideology and some realistic references (this reference is said by Hoover in the film: "Today there are still many organizations that regard the United States as the number one enemy..." This can not help but make One is reminded of the series of situations that the United States faced after 9/11 (of course, this situation may have been the result of deliberate ideological construction).
The film also touches on issues of psychoanalysis. This question can be examined in at least the following two sets of relationships: "Hoover/Mother" and "Hoover/Tosun/Gandi". The first set of relationships manifested as "Oedipus complex/threat of castration". The absence of the father (order and law) in the Hoover family made the mother a powerful being (this power manifested as the mother's guidance and threat to Hoover's religious beliefs and gender orientation). The mother-son dance shows incestuous tendencies—the mother takes the role of the wife for intercourse—and the mother would rather have a dead child than a son who is gay or transvestite. The son puts on his mother's necklace and puts on his mother's skirt. While occupying the mother's position, it is also an imaginary intercourse. (Unlike classical psychoanalysis, where the son intends to occupy the father's position, Hoover occupies the mother's position in the film—which may be directly related to his gender orientation). The second set of relationships shows that these three people are actually different aspects of the same personality, and these aspects change as the names change "Mr. Hoover/Edgar", "Mr. Thorson/Clyde", "Mr. Miss Gandi/Helen". The change of name not only indicates whether the relationship is close or not, but the name is also a label of personality. With the change of name, the personality is also constantly changing. Ultimately, these multiple facets are united in a "daffodil" narcissistic personality - the dead "Duffy" the mother talks about is an early death of Hoover's personality, and Hoover is the "Duffy" "Continuation in reality. This narcissistic personality has a certain political power drive, religious moral stubbornness, neurosis (cleanliness, transvestites, stuttering, sexual inversion, etc.).
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