This movie should not only be a psychologically exciting horror film to watch, but it is full of satire on interpersonal relationships, and a deep desire for interference hidden in people's hearts. If you have a certain understanding of Christian doctrines, you will understand that Christians will, out of good faith, hope that others will be saved along with themselves. There is no question whether this kind of redemption is what others want, so that one has to put oneself into the hands of the redeemer?
Wishful thinking saves others or tries to change others in one's own way. There is only a tight rope between kindness and sin. The title of "the innocent man" is full of irony. The protagonist's crying and trembling under confession reminds me of it. Karenin gave Anna's seemingly tolerant pardon. This forgiveness comes at the cost of the inner torment of others.
The two opposing ethical codes in the movie struggle. At one end is the protagonist. She broke into the fortress of this closed world from the outside world, digging out the secrets of this mysterious internal world, and finally hoped everyone would break free with her. The housekeeper revealed a potentially opposite way of thinking. She has stayed here all the time and understands the mentality and habits of the two children. Perhaps these surly behaviors produced another interpretation for the protagonist, but for her, they were just accustomed to it. She reminds the protagonist that one cannot look at anyone, one can only look at herself. She doesn't care whether the children's behavior and speech are inconsistent with her peers, she just hopes that the children can be comforted. From the protagonist's point of view, this is a kind of connivance, and the protagonist's stubborn radical attitude is not also cruel. Interpersonal relationships are power relationships, and this is a movie with a strong antagonistic relationship. Its success or greatness (even if the film is less famous) lies in its ambiguity, that is, the unclear explanation in the low-scoring reviews. It can be re-interpreted many times. Maybe this is a script creation better than The film of lens language does not have a nonsense line, but lacks the influence of other films, because the film itself cannot be used for reference. Whether the ghost in the castle exists is no longer important, but everyone's behavior is enough to be worth pondering. Which behaviors belong to the individual's will, and which ones are imposed by evil spirits?
(Digression: The most interesting thing in the movie is the two kiss scenes. If the protagonist sees the truth, Miles is possessed by Quint, Quint dissipates, and Miles died at that moment. It can be said that Miles At the end, S and Quint are as one body, which also symbolizes the emergence of the blending relationship between truth and fantasy. Her relationship with Miles is to some extent a substitute for her relationship with Quint. The attraction she had, the similar Oedipus complex between Miles and her, and her intention to dismiss everyone to confront him in the end also seemed very secretive)
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