Except for the few decorative paintings of Klee from the Rapha house, the artworks mentioned in "Into the Hall" all came from the gallery that Gilman's wife had been operating in a dismal operation. However, after the end of the film, you will go back and re-examine every work that appears in the film. You will be surprised that this gallery is the biggest treasure in the film.
1. "Labyrinth" Gallery
The name of this gallery "Le Labyrinthe De Minotaure" is taken from the story of Minotaur in ancient Greek mythology. This half-human, half-bull "sacred beast" is actually the grandson of Zeus from the blood. The wife of Zeus’ son Minos was tempted by the sea god Poseidon, who was transformed into a cow, and gave birth to Minotto. However, the "mythical beast" was imprisoned in a carefully designed labyrinth (labyrinth) as soon as it fell to the ground. ). As the king of Crete, Minos asked the Greeks to offer 14 virgins to satisfy Minotto's appetite every nine years, until the Greek prince Theseus appeared. Aridane, the princess of Crete who fell in love with him, helped Theseus find and solve Minotto in the labyrinth by relying on a ball of thread, which ended the nightmare of the Athenians.
From beginning to end, the gallery run by Gilman’s wife appears repeatedly in the film. As we will talk about below, many of the conversations that take place here are hidden in mystery. It can be said that this gallery is a box that hides the summary of the situation. On the most obvious level, Gilman is the maze of Minotto. It's just that he always mistakenly regarded himself as Theseus, but unexpectedly encountered an "anti-kill" in the gradual change of the role. Claude is the real "Theseus", he followed the clues step by step, pressing "Minotto" to the applause. At the climax of the end of the film, Claude drags his suitcase and passes by this gallery that is about to be closed. The sign of "Le Labyrinthe De Minotaure" is being taken off by the workers, because at this time, "Theseus" has already arrived. In the center of the maze, the sword hangs over Minotto's head.
2. A doll full of "sex and dictatorship"
When this gallery first appeared, several works on display were inflatable dolls of spoof leaders and Nazi crosses and axes and sickles full of sexual metaphors. The themes of these works were summarized as "sex and dictatorship" by Gilman. Although Gilman can be said to be very indifferent to art in general, this generalization still reveals a mystery for us, that is, Gilman's inner Freudian desire mechanism.
"A suivre" is not Claude's French homework at all, but Gilman's desire to escape. At the beginning of the film, the principal’s insult when he announced his return to the school uniform tradition shows that Gilman is actually out of place among his teachers and colleagues, or that he is suppressed. When there is depression, there is return, and Claude symbolizes this "sexual impulse" to break the "dictatorship", so Claude externalizes Gilman's desire. It is not the high school student in his class who is obsessed with composition writing that really drives and destroys Gilman, but his own desire that has nowhere to put it. This desire is a multi-faceted sum. It is not just his voyeuristic and rebellious desires, but also includes his self-projection on Claude (a talented literary youth), and his and his wife have been There is no lack of offspring and so on. So at the end, he sat on a bench with Claude and peered at the story behind each window. The picture was not bitter, but there was a warmth between father and son. Because at this time Gilman was in a desperate situation, but he finally merged with his own desires.
3. High-level metaphor "phonetic painting"
With this audio painting, the clues provided by the film are more clear. It can even be said that this work is a highly condensed metaphor for the entire film. According to Gilman's wife, the so-called "voice painting" means that the artist uses the voice description to make the viewer imagine a work that actually existed, and then creates it on the wall or in a blank frame to become a co-author. Although Gilman, who has no artistic bacteria, is still not cold about this work, he has already become the co-author of Claude's "phonetic writing" without knowing it, and this kind of joint creation starts from a simple "brain supplement". A little bit spread to reality manipulation. Just as Gilman couldn't understand this work, he still couldn't realize the situation of his "conspiracy", and could only continue to serve as a stepping stone for Claude's creation.
4. Paul Klee "Angel or Devil"
Several Paul Klee's "Angels" series are hung in the corridors of Rafa's house. Klee became fascinated by the creation of "angels" after suffering from an incurable disease. In 1939, the year before his death, Klee painted a series of 29 works. However, these angels in his works are not images of "divine nature" in the traditional sense, but both "human nature" and "devil nature". They are perverse, naughty, and weird. So when Claude explained the true meaning of these works to Rafa's mother, she said: "You call them angels, I can't imagine them."
What’s interesting here is that, for one thing, Claude has always played such a clean and harmless little devil, walking between angels and demons. Don’t forget when he talked about these paintings for Esther. The mother who had just run away from home deceived her sympathy. Like Gilman, who is half man and half cow, one of them is "the devil among the angels" and the other is the "angel among the devil". Secondly, Esther, who loves art, does not know that these decorative paintings of his own are Klee’s works. This film once again constitutes a beating on the fragile shell of the “middle class”. Bubbles burst at the touch of a button.
5. "Shanghai Sky", stupidly indistinguishable
When Gilman's wife explained this set of "Shanghai Sky" to the twin sisters in the gallery, she was actually still providing clues to the audience to solve the mystery. This group of creations makes people naturally think of the 19th century British painter Constable who also loves the sky. However, as she introduced, this group of sky focuses on "presentation" rather than Constable's "representation". The flow boundary between "representation" and "reproduction" is another core theme of the film. Claude firmly controls this boundary, but Gilman is trapped in a quagmire because of the inability to separate the two. Later, when he was instructing Claude to write, he took out the gallery catalog of this work and sneered at this neurotic art. It can be found that every time Gilman sprayed his wife's artwork, he fell into the whirlpool of reality more. So it seems that if you want to be a "back-row spectator" from the perspective of God, you have to understand art, otherwise you can only get a glimpse of the back of your head in the front row.
Although reversal movies are generally only worth watching once, the clues ambushing in "Into the Hall" are always memorable, so that patients with procrastination can't help but want to use their lazy hands after a long time. Xingzi.
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