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Metaphors from beginning to end: Incompetent husbands become punishing demons, lowly coachmen become sexually abused murderers, and tall beauties become the best husbands slut. This dream-like metaphor seems to imply that in those days, if a woman had a non-mainstream sexual orientation, such as SM, she could only vent through a way of actively getting into the predicament of being victimized.
The first turning point in the film is the appearance of a husband and friend, who always represents a subconscious surfacing. For example, he was too intimate on the tennis court and too oracle-like to point out that the heroine's seemingly chaste but actually lascivious heart. After several appearances, they all played an important role in promoting the heroine's choice of action.
Let's talk about the heroine's childhood. The first appearance is when the heroine is obscenely fondled by a middle-aged man. What is worth pondering is the expression of the heroine, there is no fear or disgust, but a very enjoyable look. The second time was when the hostess was baptized. The priest stuffed the holy biscuits into the hostess' mouths, and the hostess avoided them in disgust. The above details seem to imply that the heroine has a deviant heart since childhood. Where does this heart come from? Not necessarily from adult obscenity or twisted family relationships, it's not impossible to be born that way. The default is that there is only one kind of sexuality that is already a nineteenth-century antiquities, and we do not yet know for sure what innate tendencies and possibilities exist in human beings.
Corresponding to this is the scene between Jung and his female patient in The Dangerous Method. When the female patient first appeared, her facial features twitched and her speech was incoherent. Later, under the guidance of Jung, he finally said that when he was a child, he was slapped naked by his father, which brought not shame, but pleasure. However, this pleasure is deeply shameful, and this is why I fell into neurosis.
It remains to be seen whether Daytime Beauty's sexually abusive tendencies are innate. But what can be confirmed is that the reason why she entered the prostitute and became a prostitute is a kind of voluntary, this kind of voluntary allows her to put aside the disguise in her fantasy and face the pleasure she wants.
The film ends with the heroine dressed in a widow's dress, tending to her paralyzed, unconscious husband. In the fantasy, the husband suddenly got up and walked around as if nothing had happened, the heroine leaned towards him, and the two were full of love. At this moment, the bell of the carriage outside the window rang like a death knell. What does this imply? There are comments that it is a narrative loop. From the very beginning, the husband was paralyzed, and the dissatisfied female protagonist fantasized about it in every possible way. Such a metaphysical perspective is not impossible, but it does not make much sense.
If it corresponds to the background of the times, can it be understood as follows: the husband's paralysis and impotence finally allow the wife to get real spiritual liberation. She no longer has to pretend to be docile and well-behaved to face her husband's seemingly kind and generous oppression? In the carriage ringtone, did the heroine get a real orgasm of her own?
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