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He finally jumped off the window sill, for the first time and for the second time. It was himself and the dead Simone. When the "strange tenant" completed a painful fall in a self-harming way, it was a kind of self-consciousness. escape? Or is it a performance for others? Or this question can be asked like this: Why does he skip twice?
Before jumping from the building for the first time, this man named Tolokowski locked the door and turned into a woman. When he turned into her and opened the window, they saw that all the tenants became spectators and they opened the window. , They clapped their hands, they kept smiling, they looked forward to the falling incident-Stella, a girl who has a good impression of herself, was also among them, even she was like sitting in a luxurious box in a certain theater, waiting for the excitement Performance. At that time, Tolokowski had already become the Simone who had jumped off the building. When he became her, he had to complete a story that had already happened. When the falling body smashed the newly repaired glass shed, that hit The broken hole is the proof of an event repeating itself.
However, he didn't really become her, or he didn't become a story that had happened in the act of jumping off the building. She-Simone was taken to the hospital after jumping off the building. She was bandaged all over her body and did not act anymore. Ability. After Tolokowski jumped, he was only injured and he was able to move. So when the tenant and the landlord Zoe approached, when they wanted to help him, he not only refused their help, but also He kept calling them murderers, and when the police arrived, he had climbed to his floor with his injured body and jumped out of the window again. After the second fall, he had lost his movement. Ability, his whole body wrapped in bandages, his legs could no longer walk. On the hospital bed, he screamed like Simone—the same pain, the same lack of a front tooth, and he saw the bottomlessness from his open mouth. The darkness, but, at that moment, he was not repeating Simone's tragedy, but sending himself into the abyss of destiny in a self-directed way.
The first time I jumped out of the window, I was wearing a woman's clothes. This can be seen as a reappearance of Simone jumping off the building, and everything that Tolokowski saw in front of him was the "people" that Simone had seen: They were laughing, they were seducing, they were squeezing out. Simone, who was a "shown to the public," could only express her resistance in such a decisive way. Finally she lost her freedom after falling, and this freedom became to others. The revenge, as Trokowski said to them: "They want me to commit suicide, so I will show them." So turning into Simone, Trokowski did it entirely in reason. Out of the choice, that is, he was just looking for this kind of excitement as Simone for a certain purpose. But when he did not become Simone the first time he jumped off the building, it meant that his "suicide plan" had failed, and that the conspiracy they had made was bankrupt. In this sense, he chose the second time. Jumping off the building, although the final result was exactly the same as Simone’s experience, he had completed the suicide plan, but it was obvious that when he jumped off the building for the second time, he had returned to Tolokovsky’s identity, but the same ending had already made him. He could not be himself, instead he became Simone's shadow.
The first time was a hint, and the second time was a practice. In any case, Simone was a kind of shadow, and Tolokowski was rushing to this shadow, but when the plan was completed by jumping twice, he himself Whether he’s resisting or escaping, it’s actually changed a long time ago: the other person in his eyes is a murderer, a seducer, someone who pushes him from a normal life to the abyss, but in fact they are trying to help him, to send him off. Go to the hospital, in order to avoid the recurrence of the tragedy-when the two worlds appear in such a huge contrast, did Trokowski fall into the madness of himself? Is everything he did a kind of inner delirium?
After Trokowski fell for the first time, his legs have almost lost the ability to move. It is undoubtedly an incredible thing for him to climb the stairs again, and it may even be just Trokowski’s own fantasy— -He was not able to complete the second jump at all, just fantasizing that he was going to complete this suicide plan. Like the "murderers" he saw, he was just caught in an inextricable confusion, and at this time, he too It is no longer Simone, that is to say, it is not others who created this tragedy, but the self who created this event, becoming an "other" in an identity that actively loses oneself.
Undoubtedly, this is the most terrifying. But it is obvious that when Roman Polanski emphasized Tolokowski's self-alienation, he was clearly guiding the audience to be "others" who created this tragedy, thus turning personal problems into social problems. From the time when Tolokowski rented this apartment, he seemed to be ostracized. He seemed to lack an identity, but this ostracism and alienation were just a social norm and could not become The cause of tragedy. When Tolokowski first rented this apartment, Zoe, the landlord, asked him to be quiet, not noisy, and not allowed to live with girls. It seemed that there was nothing wrong with it, and Tolokowski agreed to these conditions and answered Zoe's question as "I don't have a girlfriend". During the rental period, he did abide by this agreement. It was only that night that he invited his colleagues to celebrate his move into the new apartment, which led to the emergence of contradictions. As the contradictions escalated, Tolokovsky began to Everyone has become an enemy.
The colleague’s celebration made the noise, and it continued until the early morning. This naturally violated the agreement of the entire apartment. When the neighbor knocked on Tolokowski’s door and told him that he could not ignore the right of others to rest. It’s understandable, but the key contradiction appeared in the attitude of colleagues. They believed that this deprived them of their rights and claimed to retaliate against them. When Trokowski went to his colleagues’ house, when the music was loud, A neighbor knocked on the door to persuade them to be quiet, but a colleague responded domineeringly: "Don't deprive me of the right to listen to music." The neighbor had no choice but to leave. Colleagues told Trokovsky that he must strengthen himself and not compromise with others. This seemed to allow Trokovsky to find a way to identify himself, but one day he saw someone in the office newspaper. The news that he was killed because he quarreled his neighbors at night, which undoubtedly stimulated Toklovsky again.
In fact, whether it is the warning by neighbors during the celebration, the behavior of colleagues emphasizing self-rights, or the news in the newspaper that he was killed for arguing with others, Tolokovsky has become sensitive, and this This sensitivity strengthened his contradiction, so all kinds of inner conflicts are completed in self-suggestion-whether it is affirmative or negative, Trokowski treats himself as someone else in self-suggestion. Therefore, in his opinion, the normal regulations in the apartment have become conspiracies, and even derived from the rules of this society. When Trokowski’s apartment was stolen, he wanted to call the police. Zoe persuaded him not to call the police because it would affect the credibility of the apartment; when the neighbor’s mother and her disabled daughter told him that it was made by someone else Tolokovsky thought they were the victims because of the noise instead of himself, hoping to get his support; when Mrs. Diaz took almost all the tenant’s requests and asked him to sign against the noisemaker, He thought it was aimed at disabled mothers and daughters, so he refused to sign, so he felt isolated-so all kinds of things, in fact, what the neighbors did was not directed at him at all, they just wanted to maintain a quiet state, and don’t care. No one had any special requests, so in this apartment, no one else became an inducement for Trokovsky's alienation.
When there are no external incentives, the only thing that allows one to walk on this path of tragedy is internal incentives. Tolokowski’s sense of self-identity is fragile. This Polish name itself has too many hints. He emphasized that he was a French citizen in Zoe, and repeatedly emphasized that he was French in the police station. , "Poland, that is a poor country." When the police said this sentence unintentionally, but for Trokowski, it seemed to be an act of exposing scars, and self-suggestion became stronger and stronger. Living alone in an apartment and being suspected by neighbors seemed to be the reason why he began to escape. The more self-suggested, the more he felt isolated, so Trokovsky opposed others outside of his own world. All his actions They have all moved towards self-alienation.
Stella is undoubtedly an important factor. He met Stella when he went to the hospital to see the injured Simone. When watching a movie, they were ambiguous. Even Tolokowski reached out to her chest, but was seen by the man in the back seat. , This ambiguity was terminated, which was undoubtedly like sexual repression, spreading to Tolokowski’s place. When they met again and Stella, who had a good impression of him, suggested to go to him, he looked for The excuse was rejected, and when he went to Stella’s apartment after drinking too much, this kind of sexual depression seemed to be unable to return to normal, even after Stella took off his pants, he was still thinking about it. Related to Simone’s fall: "If my arm is cut off, it means that I have separated from my arm; if my stomach and kidneys are dug out, it means that my body and internal organs have separated; if I am Cut off his head, so is I separated from my body or my head?"
I am separated from my body, do I represent myself, or my body represents myself? Toklowski’s self-talking is a sign of a split. It seems that the body is no longer under the control of the self, and of course it is impossible to complete the simple act of love. That is to say, after this night, Stella went out first. The doorbell rang, and Toklovsky saw the stranger outside the door through the cat’s eyes. He began to show terrible delirium: "You are all in the same group, you bitch!" So he put Stella in the room Everything was messed up and escaped from the scene, and escaping from the scene meant that he had truly escaped from the self. He had to be in a self-enclosed world to find a sense of existence, and to get rid of doubts in a self-alienated world. self.
Simone, who jumped from the building before, has undoubtedly become a symbol of Tolokovsky’s self-alienation. The room he lives in has too many shadows of Simone, the female skirt in the closet, the nail polish and underwear in the box, and the hole in the wall. The tooth inside, and the shed outside the window sill that was broken by jumping from the building, all of these continue to strengthen Tolokowski’s sense of isolation, and the mirrors in different positions in the room create ubiquitous mirror images. , When Trokowski was unable to deal with the relationship with his neighbors, he evaded more and more into the inner world, and gained more and more self-identification in Simone's world. In fact, Simone’s jumping off the building and Trokowski’s behavior have a certain consistency, whether it’s the teeth in the wall, her archeological interest, or the postcards sent by others about the ancient Egyptian pharaohs, it all proves Simone used to live in a closed world. She was even like a mummy cut off from modern society. She was bandaged in the hospital after jumping off the building. She was just a mummy.
Therefore, in such a mirrored world, Tolokowski seems to be able to abandon his split personality only by transforming into Simone, so he started to drink coffee as much as Simone and smoke Marlboro cigarettes, and then Wearing her dress, putting on her nail polish, and even actively buying a wig, she also admired herself: "It's so beautiful, like a goddess." A kind of escape has turned into a kind of alienation. In the ever-increasing self-alienation, he Living in a world of delirium: The illusion appeared the moment he entered the toilet, he seemed to see Mrs. Diaz who was hostile to him, and then strangled his throat with his hand, treating himself as an enemy, or letting himself feel Pain, this is an obvious split; and the second hallucination was also in the toilet. He walked into the room where he saw himself across the glass, but saw himself standing at the window looking at himself-seeing himself, he must There is another person who is watching, and the self is objectified. As Stella said, "Am I separated from my body or am I separated from my head?"
They were originally one, but became two people, so one is Simone’s body, the other is Tolokowski’s consciousness, one is in the mirror, one is outside the mirror, one is in front of the window, and the other is opposite. In the toilet-division is everywhere, alienation is everywhere, so Stella is a bitch, so the tenant is a murderer, so all others are enemies, "They are going to kill me and force me to commit suicide." It's not them. Tolokowski needs to become Simone and repeat the tragedy of jumping off the building, but Tolokowski must transform himself into Simone, in order to become another self in mockery, exclusion, and alienation, in order to gain Real presence.
It's just a pity that Stella's love is just a misunderstanding for him, and even the last clue hangs there; it's just a pity that Roman Polanski strengthened the alienation of people from society, and weakened Trokovsky. It’s a pity that in the fission lacking internal causes, the tragedy of jumping off the building is more like an arranged performance: the first time is not successful, if you haven’t become the real Simone, you will come to the society for the second time. The act of revenge, and when the whole body is bandaged like Simone, the tragedy is only one person’s tragedy. It is repeated, but it is not a common disease of the society—just like the title, the weirdness is not the society. It is just a self-deduction of the "strange tenant".
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