Polanski's uniqueness lies in the fact that no matter how many themes of human nature, history, current situation, and dusty politics, they will not give the people a sense of undue panic. The grand theme has always been magnified in depth. The "performance" of the film is not important, it seems that the traces of the director's artificial algae decoration can be hidden by the inner control of emotion and atmosphere. Whether it is the calm and restraint of the trauma of World War II (pianist), the infamous political scandal (shadow writer), the threesome of the two sexes (a knife in the water), the meticulous narrative of the reversal of the shock wave (Chinatown), the harmony of lust and desire (suffering) Moon), or this "Immoral Judgment" that contains the above characteristics, Polanski is using the neutral attitude of "not to censure or criticize" to continue those grand themes, and then add a paragraph only. The story belongs to a specific age, and the remaining scraps can be technically attributed to his emotional grasp of light and color.
The film has two names, one is Immoral Judgment, and the other is Death and Maiden. The “judgment consciousness” of the former is more in line with the “white terror” zone under the centralized rule, and the sense of times and ideology came into being; the latter is closer to the heroine Pauline’s “history of death”, it seems that “girls” and “ "Death" uses the history of humiliation after a secret police arrest as a barrier, which determines that Paulina is destined to judge others for a humiliating trial in her future life.
At the beginning of the film, the natural representations of violent storms and rolling waves heralded a kind of uneasy and gloomy tone. The heroine’s home was placed in a remote seaside hut. The wooden furniture environment and the cramped spatial dimension gave people a kind of Painting the ground is a sense of closure. The establishment of the environment at the beginning is followed by the establishment of the character’s identity and relationship. The heroine’s personality is a bit neurotic. It can be seen from the dialogue between her and her husband Gerardo, who will be the chairman of the National Governance Council, that she is just because When her husband refused to talk to her about the presidential appointment, he dumped his food. Of course, after seeing the audience, they will understand how Paulina protected her husband, suffered humiliation, and betrayed by her husband in the era of dire straits. Everything was not clear at the beginning of the film, but it made the audience feel the heroine’s character and experience. unusual. Immediately after the doctor Miranda gave her husband a spare tire, Paulina, who was sleeping in the room, recognized Miranda’s voice and concluded that he was the beast that raped her many times that year. She stunned and bound Miranda, and unfolded. A frantic retaliatory trial.
This trial should be the most breathtaking process, with several deep-rooted games from beginning to end: one is a game between intuition and law, one is a game between love and responsibility, and the other is a game between democracy and centralization. Paulina determined that Miranda was the culprit of the violence against herself by means of voice, smell, and the tapes of "Death and the Girl", while her husband Gerardo believed that all these were just Paulina's panic and sensitive conjectures, not enough. Convicted Miranda. At the same time, this game of intuition and law triggered a game of love and responsibility. It turned out that their marriage was based on the repayment of responsibility. As a lawyer, Gerardo was the initiator of the student movement in his early years, Paulina. It was her lover and the messenger, Paulina still gritted her teeth and did not confess to Gerardo after she was tortured when she was arrested by the secret police. When she returned home suffering from physical and mental trauma, she found that Gerardo was dating other women. The truth of these things was revealed to Gerardo during the trial. Possibly a large part of the soundness of Pauline and Gerardo's marriage is that Gerardo willingly endures his wife's surly temper and neuroticism because of debts and responsibilities. In this way, the marriage between the two is actually an embarrassment under the prestigious reputation. The game between democracy and totalitarianism lies in the vacillation of her husband Gerardo, who is an intermediate figure. On the one hand, he wants to help Miranda escape the trial. This considers that if Miranda dies in the hands of Pauline, his seat as the chairman of the security governance committee will also be End without disease. On the other hand, she sympathizes with her wife's past experience, hoping that her wife can spray out years of repression in a trial, and release her to be disheartened. But as the initiator of yesterday’s democratic movement, today’s lawyer, and tomorrow’s committee chairman, the spokesperson of democracy and freedom has acted as the weakest link in another trial that is the same as that of the totalitarian period. In today's society and times where law is supreme and democracy is supreme, it is a pungent and implicit irony.
The trial process seemed calm but dangerous. Miranda tried to use "absence evidence" to excuse herself, but because she mistakenly stated that "it was not the rope or the wire that tied her back then", it made Polina more firm about the murderer. Doubt. She only asked Miranda to plead guilty, but Miranda tried to mediate again and again. This made Pauline deeply angry. It wasn't until she took Miranda to the beach to push him into the sea, that Miranda exposed her innumerable crimes with an uncharacteristic calm: "In the beginning I also wanted to resist, but slowly I just like that feeling. I can control them and play with them at will. Not only can they not resist, but I also want to thank me. I like to rape them naked under strong light. I like the feeling of being above the top." Miranda's judgment is if the complexity of the two people's sex is fully revealed, Paulina is unusually calm at this time, and she waited for the real trial result. As for the heroine, I think of Lu Xun’s saying, “A person who dared to lie on the enemy’s body and crying bitterly is the true backbone.” Regarding her final release, whether it is for the “enemy” or “self”, it is necessary for self-confession after suffering. form. With this necessary form, the scene where the "old friends" meet and listen to "Death and the Maiden" at the end can allow the audience to watch their secrets while mobilizing the audience for the bland ending to be shocking.
Regarding the trial of this movie, there are three characters, two men and one woman (the memory of knives in the water is not chanted); the compact plot setting; the spatial scheduling of a large number of closed scenes; the white terror under the centralized tyranny; the crazy suppression of the democratic revolution ; The secret police are rampant; the conflicts and contradictions of the reversal of human nature. Polanski tried his best to give a noncommittal attitude on the contrast of human nature, but because of the active opening of various political history, everyone lost the drastic criticism of Miranda's transformation of human nature. It seems that his personality is also stained. Because of historical stains, people have more rational considerations about the premise of the times. After all, compared with most of Miranda's righteous words before the movie, his final "discretion of the heart" has a moving effect to brighten the plot level and reveal the complexity of human nature. It tells us step by step the golden rule that "two things in this world cannot be looked at directly, one is the sun and the other is human nature".
This may be the crime and punishment in Polanski's eyes.
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