Because I was recommended, I watched this movie with a certain knowledge of this movie. So in many places, I have had a premonition and speculation of "what will happen here", some of them are not so shocking, shocking, and not so shocking. The impact (I really regret it, this kind of movie should retain a certain degree of mystery before watching it). When I recalled this movie for the first time not long after, I found the feeling that I should have thought it was great—because I am a fan of this kind of suspicious film— —The
reason is that Hitchcock’s "Mentally Ill" is still a classic. When I watched it, I felt that my "dissatisfaction" did not lie in my knowledge of the plot-like I just knew Tom couldn’t catch it. It's like Jerry and Big Big Wolf can't eat Pleasant Goat-but because of the known lack of "psychological identification and breaking" of the characters in the film, which many people have evaluated.
I have probably guessed what would I think if I watched this movie without knowing anything about it?
Marianne’s money-stealing behavior was a temporary obsession. Later, she was questioned by the police when she checked into a hotel and she realized what kind of mental torture the 40,000 had brought her. I should guess that she would return the funds before being caught. , "Mentally ill" is probably someone she is familiar with or close to, or even herself, who was eventually ground into a "psychiatric patient" by the hopeless life in the subsequent development of the series-I will sympathize and pity her, this kind of emotion In fact, you are sympathizing and pitying yourself.
After Marianne checked into the hotel and talked with Norman, Norman was sternly reprimanded from the "mother". After Norman's meekness, filial piety and obedience to the "mother" were shown by the director, I should guess that "the mentally ill" It is undoubtedly Norman's mother, a meticulous old lady who was widowed and has a strong desire to control her son. Then the death of Marianne in the bathroom will naturally aggravate my guess, especially after the Norman voyeur incident. Then, when Norman went to destroy the corpse, his words and actions and his helpless, uneasy, and painful look on his facial expressions, etc., would make me no longer doubt my point of view—— Maybe at the beginning, I would feel angry at Marian’s death in the bathroom, because when I sympathized and pityed her, I would feel my shadow on her body. Her death is my death psychologically, so I hope the murderer can be Bring to justice; then I learned about Norman’s situation. He has been growing up pitifully under this kind of "love and control" and has such a sensitive and mentally abnormal mother, but his admiration for his mother is It’s still a lot of points. I tried to hide my mother secretly taking care of her. Maybe it’s not to leave her and not let her "mental illness" be ridiculed. Then my position was changed invisibly. Marianne was dead, even committing a crime. Death in the process of the crime of theft can be regarded as karma. Although the thief is not sentenced to death, and Marianne also has the intention of repentance, but I will not take that much into consideration. She is dead, and revenge for her will not bring her back to life. , On the contrary, it will destroy Norman, a simple, honest and even cowardly young man. Norman’s spiritual world was maintained only by his mother (I don’t know if the American mental illness murder was illegal at the time), so maybe I was in the process of Norman’s destruction. Still thinking, hurry up, hurry up, don't show up.
Then I should have been invisible controlled by the director's narrative over my thinking and position, indignant and worried about the characters in his film, like a wall with an unstable position that is most easily despised.
Completely, being teased.
Director Alfred Hitchcock will use the development of the "Mentally Ill" plot to make me "pop", "pop" and "pop", and then tell me invisibly, think too much. I was first excited: the unpredictable development direction of the story, an alternative interpretation of human nature, great ideas, great movie scripts! Then there is the unspeakable sense of frustration, which can only be self-comforting: Director Hitchcock must be a top student majoring in psychology when he was in college, he must be!
Thinking about it this way, I regretted predicting the storyline of "Mentally Ill" in advance. When I saw Marianne, he would think as follows:
——"Oh, you don’t have many scenes, you are in the 47 minutes of the movie. I’m going to be killed."
—“By
whom ?” —“By Norman. Who do you think it is?”
—“It’s his mother. I might look at her a bit...”
—“Don’t be stupid Yes, his mother died eight years ago. Norman is mentally ill. The name of the movie "Mentally Ill" refers to him. He is a dual personality. The dialogue you hear between him and his mother is actually his own self. Talking to yourself, thinking carefully, is there any fear?"
Speechless.
Of course, to be honest, in addition to the novel conception of the plot, Hitchcock also has a lot of rich shots in the process of photography: the opening of the film is a big perspective shot from above, which has undergone several ingenious technical processing. (It should be a dissolving lens), the lens approached a building, a window, and then got in from here, and then there was Marianne and her boyfriend's solitary time, a secret and exciting space for two people. At this time, this kind of "drilling" will make us hiding out of the lens seem to be a voyeur who wantonly peeping into the private lives of others. The movement of the lens is like our possibility of avoiding being discovered, deliberately hiding in a certain place. Same place.
When Marianne told her boss that she had a headache and went straight back to her home with cash, she became coveted for 40,000, and then planned to flee privately with her money. How did the director express this idea that exists in her mind? , Marianne’s personal role, if he arranges Marianne to personally say "I need these 40,000 yuan", it is really too deliberate and too low, and too inconsistent with the character's personality, so the director gave "40,000 yuan." A shot, moved over to give a shot of "Luggage", and then moved over to a shot of "Marian" who was busy packing up his luggage, everything is done, at a glance, the language of the whole lens means "packing up and fleeing for money". Hitchcock in this place also has a cleverness. The plot character Marian under his control frequently looks at "40,000 yuan", and her facial expressions can also see similar emotions such as anxiety and hesitation. She wants to get the money. In the end, she did it, but she was obviously forced by her life and her conscience was disturbed. But for those who saw this place, although we did not approve of her behavior, we felt that there was no other way but this was the only way she was. Ordinary people who have been embarrassed by life-in this way, Marianne easily gained the audience's sense of identity. This is to pave the way for the sympathy and compassion of her dead audience in the next "47 Minutes". Even this same foreshadowing is also reflected in the interpretation of the gaze under the lens when Marianne meets the boss, the police on inspection, and the second-hand car dealer while she is fleeing. We can even feel that she is disturbed in the next second. Being suspected by the other party and then reporting, going to jail, etc., after we had understood her before, her expression of guilty conscience became our guilty conscience. It is difficult for individuals not to feel the same flustered by her. The director has already played our emotions in this place.
In the Norman Hotel, the scene of the bathing in the Marian bathroom is like a cleansing of evil by morality. It is a common practice to show the most innocence of human beings with a female body, and the pouring of water indicates that the evil is cleansed. The ground is clean and clean. It seems that we and Marian have returned to the pure goodness of human nature. But Hitchcock has a different treatment in this place. He directly "killed" our heroine Marianne with the absolute power of the director (this kind of "heroine" is also what we think, according to her The role setting in the plot can only be said to be the female number one with more drama)-Then, the audience is angry, and the effect the director wants is achieved. He plunged us into Marian's world completely, preparing to pull us out of this world. The next step is Norman's performance.
……
As far as I look at the whole "Mentally Ill" movie, one of the expressive themes of the director I have surveyed is "voyeurism": it not only shows Norman's voyeurism on Marianne when she is changing clothes, but even from This deepens the audience's sense of identity with Norman-yes, he is very poor, living under the control of such a mother, he has no wife, no female friends, such behavior is insignificant and immoral, but it is excusable; In the audiovisual aspect, we have repeatedly caused the voyeuristic psychology of the characters in the play. The audience faces the close-fitting clothes of Marian as a female. This is not to please the male audience, but to put what they have in their hearts." "Evil" and "desire" are directly released, mocking their appearances in daily life.
The brilliance of Hitchcock's film is that what he wants to say will never be the same as what you think he wants to say. In fact, it is indeed difficult for us to guess the director's mind and the arrangement of the next move of the movie characters.
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