The apartment in the film belongs to a classic encircled apartment in Paris. When you open the bedroom window, you can see a high wall full of windows on three sides, and the door is also a thick and huge wooden door. The director never allowed the camera to look up at the sky in the filming apartment, and the complicated patterns on the door made people feel that the apartment was closed like a prison. Especially in Trelkovsky's room, the only window is facing three walls, countless windows, and weird toilets.
The first appearance of the spiral staircase was the first time Trelkovsky came to the apartment. That shot was very interesting. The director deliberately used the tilted frame to shoot up the spiral staircase of the apartment, causing a whirlpool-like vertigo effect, while Trelkovsky was led by the doorman to the center of the whirlpool, which is undoubtedly a plot hint. Later, the spiral staircase also played a prominent role in the scene where Trelkovsky went to the bathroom in the middle of the night. After seeing himself in the toilet, Trelkovsky returned to the door in horror. At this time, a spiral staircase that shouldn't have appeared at the end of the corridor. Together with the spiral staircase opposite Trelkovsky's house, it created a whirlpool-like dizziness again, just like a maze. Way out.
Trelkovsky's foreign accent created a sense of alienation from society in his heart. Several times in the film, some people asked him if he was a foreigner because of his accent, and he always stressed that he was indeed a French resident. This sense of alienation made him always conscientious in front of the French, and he was almost humbly polite in front of the landlord and neighbors, not dare to offend them and dare not make a little mistake. There are also multiple sexual hints in the film. When watching Bruce Lee, Trelkovsky and Stella caressed each other and then kissed each other, but they were interrupted by the stranger behind them; a friend who came to the house brought a woman, who was drunk and lay on his lower body. It made him feel uncomfortable; the night he was drunk at Stella's house, Stella wanted to undress him, but he fell asleep in babbling. All this led to Trelkovsky's desire and psychological repression and distortion.
The drunken chatter of Trelkovsky that was talked about by movie fans was actually mentioned by the priest when he went to the church to attend Simone’s funeral. The remarks about the separation of soul and body made Trelkovsky nervous and sweating and finally fled in panic. . This is another hint that Trelkovsky can't find his identity. He no longer knows who he is in his body. When he was most at a loss of fear and helplessness, he was sitting by the fountain in Luxembourg Gardens and saw a boy who could not find a boat crying helplessly. At this time, a lady came forward and asked what happened to the little boy, and offered to propose Help the little boy find his boat. Then Trelkovsky stepped forward and slapped the little boy, then left angrily. Because in his life, there is no one to help him, all are indifferent people. The landlord refused to let him call the police for his so-called "reputation." The police did not trust him and wanted to check his ID. A neighbor asked him to sign and said that he would jointly let a poor lady and her son move away. Even as a bystander, he I also saw the rudeness and dominance of selfish colleagues toward their neighbors. Finally, because of the illusion that Stella is also harming him, he completely lost the trust of the society in the crowd.
The mirror is a very important prop. There are at least four mirrors in Trelkovsky's home. When he is in the hall, the audience can see two of him. Then the camera follows him into the bedroom. Because of the large mirror on the closet, we can still see both of him. When he is standing by the window , He appeared again in the small mirror in the corner. These mirrors give the audience the impression that there are always a few people in a small room, but they are always the same person, successfully creating a lonely and cramped atmosphere. The mirror always means self-examination. At first, Trelkovsky saw his normal self in the mirror. Later, he panicked when he saw himself wearing makeup in the mirror. Finally, when he saw himself in the mirror, it was already a cross-dressing self. Disagree. And the skirt that runs through the whole film was first taken out of the closet by him, and the next shot appeared in the closet again. Both the mirror and the skirt suggest that Trelkovsky is looking for identity, and when the coffee shop owner always gives him hot chocolate and Marlboro, when a strange man cries in front of him, hugs and kisses him, when the landlord asks him to also be after 10 o’clock in the evening Putting on slippers and walking, when he felt that everyone around him treated him as Simone, he would naturally become Simone who was persecuted and forced to commit suicide psychologically. Only this time, he/she decided to resist.
Trelkovsky's jumping scene was great. The whole apartment was turned into a theater, and everyone was dressed in red wine, applauding and laughing. The "stage" is the window of Trelkovsky's house, and the climax of the drama is that he succumbed to society and committed suicide by jumping off the building. In his eyes, everyone knew that he was going to commit suicide but no one wanted to stop it. On the contrary, it was the end expected by everyone. Hidden behind the protagonist's persecution of delusions is the director's accusation against the society of selfishness and indifference. The scene consists of only 3 shots in total, and the scene scheduling and photography of the first long shot are even more amazing.
Even if the basketball/head scene was spoiled before, it was still shocked. Especially the lengthy silent state during the basketball landing process is suffocating. In addition, when Trelkovsky went to the bathroom in the middle of the night, he first lay on the bed and wanted to get the water bottle on the chair. As a result, the whole chair stood upright by his bed like a cardboard, which was a very interesting design. Later, when he returned to the room, the shot he walked toward the window was equally good, everything around him was stretched infinitely, and he couldn't get close to the window no matter how he walked, giving people a feeling of despair and helplessness.
Polanski's movies have not been watched a lot, but this film made me have a keen interest in his early suspense and thrillers, and I must include them in the movie plan.
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