Water x fire
When Mamiya implements hypnosis, he always uses two media-water and fire. The symbols that accompany water include a cup as a container, a pipe that symbolizes secular rules, and splashes that freely spill when restraint is lost.
When the water is in the pipe and the cup, it is given the corresponding function-washing or drinking, etc. by this carrier. Just as we are born as human beings, we must accept a set of social norms established by conventions, accept the given identities, and after human beings are socialized, they become a part of the operation of the entire huge machine.
But people are not machines, and they will always have strong discomfort when faced with this kind of shaping, but people will consciously restrain and suppress their own nature, and all the education in the process of growing up disciplines the beasts in people's hearts. But who can deny that not a single moment has thought about getting rid of all shackles and gaining freedom?
What Mamiya did was to liberate the existence of the hypnotized person, but as a person who removed the "pipe", the deviant behavior promoted by Mamiya went straight to self-destruction.
Among the hypnotized people, the most confusing is the client who provided the least amount of information. What does he desire? Maybe it's breaking free from the sex drive that dominates me. After he committed a crime, he washed away the blood with water, trying to achieve a clean state with the cleansing function provided by the water, as if he could wash away the evil in this way. But this still cannot alleviate his guilt. When he curls up and hides in the narrow space like a womb, maybe he wants to change back to the pure and trouble-free child before sexual consciousness awakening, or even become a fetus back filled with amniotic fluid. Uterus, to obtain temporary peace.
Akiko is very smart, but she has a domineering sense of superiority. ——From the script translation written by Kurosawa Kiyoshi / Wang Xiaozhi
When Akiko diagnosed a male patient, Akiko asked the patient to take off his pants. The patient hesitated for a moment. His embarrassment at that moment had a hint of sexuality. In the eyes of the patient, her sexual attraction and identity of the opposite sex were greater than that of professionalism. Facing the ubiquitous "offense" at work, Akiko did not respond. She used "numbness" to suppress emotions to achieve a certain balance.
Mamiya unscrewed the faucet a bit and filled the glass with water. Akiko has been watching Mamiya's every move. The water is almost full. When the water was about to overflow, Mamiya quickly shut the tap to stop the overflow.
...
Mamiya's fingertips tilted the glass slightly. The water "thorns" and overflows. Suddenly, the glass was knocked over by a "chuckle".
——From the script translation written by Kurosawa Kiyoshi / Wang Xiaozhi
Just like Mamiya's observation, Akiko has been silently suffering from sexism, and he has thoroughly unearthed this kind of thing that has always been suppressed. He thoroughly excavated the dissatisfaction that was already on the verge of a threshold, and broke the balance that Akiko had been trying to maintain with a series of rude and direct offenses. When Akiko killed a man in the men's room, the overflowing water also symbolized that her tolerance had reached her limit, and her hatred and hatred of men was released.
Elementary school teacher Hanaoka and elderly police officer Oida are the frictions between family and workplace hidden deep under the illusion of peace.
In order to avoid conflict, people tend to adopt an avoiding attitude more often. When we are aware of the existence of flames, we will not actively touch the flames. This is a response mechanism to avoid pain and injury. Just like the scar on the back of Mamiya that was burned by an incinerator, once injured, the pain will turn into an ugly scar to remind people of what has happened. The scar is hidden under the clothes, and when not touched, people will even forget its existence.
The closer the distance, the inevitable collision. Day after day, people avoid the sparks of dissatisfaction from developing into anger that can destroy reason.
Mamiya broke into the lives of Hanaoka and Oida, igniting the untreated combustibles.
Home X prison
The high office used work to escape from the family, and Hanaoka did the same. This is also their way of dealing with the problem, and it didn't work. When Sakuma pointed out that Hanaoka hated his wife, Hanaoka remained silent and asked whether the two people were in a bad relationship when Hanaoka denied it. Through this dialogue, we can see the emotional state of Hanaoka and his wife, hatred and love exist at the same time. On the other hand, there is almost no love and hatred between husbands and wives in the upper part, and the information revealed when facing Mamiya's self-disclosure in the upper part is more of compassion and cumbersomeness.
The senior department is busy with work, and his wife Wenjiang is trapped in the family. There are few opportunities for communication and communication between the two. For both of them, the family is full of cages of endless mutual torment.
When Gaobu found a monkey trapped in a cage at Mamiya's residence, he thought of his wife Wenjiang. Then he returned home and saw the illusion of his wife hanging herself. In the depths of consciousness, Gao has always known the harm he caused to his wife Wenjiang and his wife's depressed state. The stimulus that caused his wife to fall into a sick state has always been him. These are all clear in the subsequent self-exposure.
When talking about his wife's illness, Takabe and Saku said, "She is receiving treatment at the hospital you introduced. It's much better than before..."
Then turned around and continued: "At least on the surface. I don't know how."
But before that, the interaction between Gao and his wife Wenjiang had revealed a lot of information.
In this scene, Gao Bu always tries to get closer with his wife Wenjiang, and the distance between the two is always close and far away. Wenjiang hardly had any line-of-sight exchanges with Gaobu. Although they are husbands and wives, they did not symbolize intimate hugs or kisses, and did not even have any form of physical contact.
There seemed to be an invisible wall of air between the two.
The high department consciously wanted to "compensate" Wen Jiang and made an attempt to manage the relationship between husband and wife, but this interactive mode did not change. When the high office proposed that Wenjiang decide where to travel, Wenjiang's expression was subtle, and the so-called "compensation" only added pressure to Wenjiang. Soon after, the idling washing machine sounded again, and nothing improved.
Compared to Gao who wants to get close but can't do anything, Mamiya, as an intruder, can always create opportunities for intimate contact.
Mamiya has always approached the prey in a harmless or even weak posture.
People's intimacy begins with "self-exposure." Two people open their hearts to each other and "self-exposure" is also undefendedly showing fragility. This exchange produces a certain kind of equality. "There is no past" Mamiya can't establish this kind of exchange relationship, so he can't establish true intimacy with anyone. Only invading and plundering can he establish temporary pseudo-intimacy.
I am a detective. Never show your feelings easily at any time, even in front of your family. ——From the script translation written by Kurosawa Kiyoshi / Wang Xiaozhi
Gao Bu's habit of not showing affection easily in front of others caused him to build an invisible high wall around him, and almost no one could walk into his heart. Even Gaobu's "self-exposure" facing Mamiya is a defensive or even offensive confrontation.
In the first scene of his debut, Kobe has shown how excellent he is as a criminal police officer in observation ability, and Mamiya's acumen comes more from academic training.
They also have the ability to perceive people's hearts, but in terms of the inability to establish continuous close relationships, Mamiya and Gaobu are the same kind of people.
X
People will always have concerns about being unable to reveal themselves to familiar and intimate people around them. Some people will choose to reveal everything in front of strangers. This kind of "self-exposure" may be deeper than any familiar person. Mamiya’s "forgetful nature" is This demand provides an excellent export. It is as if two lines intersect deeply, and then there is no intersection between each other, and they are far away from each other.
Parallel lines that never intersect are not intimacy, but intimacy is like a double helix of DNA—two lines are interlinked and intertwined.
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