At the museum of moving pictures in Queens, I saw the retro and cult special effects installation of "Monster Street" and started planting grass. It's flooding, and I'm so worried that I can't finish it by yelling swear words, just like when I watched "Dog Thirteen". Like "Dog Thirteen", it also evokes the powerlessness of being a child that I haven't completely gotten rid of up to now - being humble and light.
It was also after watching "Nightmare Street" that I realized that the religious, pagan, and beautiful nuclear family cliché (including the well-reviewed Wen Ziren series) that are now filled with horror films is not always like this, but a retrogression, a fear of fear The blunting of perception is also the blunting of the perception of life. The enemy you can imagine is so scarce, and there is no suspense that you can overcome it. As for "Nightmare Street", I can think of "The Shining" and a series of horror films starring teenagers or young wives who occupy a disadvantaged position in the family, until the well-reviewed "Joker's Soul" in recent years. , "Stranger Things"... all convey this powerlessness I empathize with at the heart of its horror - you can say, no one believes you, you're just a stupid kid/stupid woman. When the warm daily life is broken, the protagonists suddenly realize that they are in such a social position, your words and personality are as light as a feather, and I don't know which story is more tragic than ghosts.
In the case of Elm Street, the camera diligently shows the youthful bodies of four high school boys and girls, who are just beginning to become powerful, but still fragile, and at the same time are undoubtedly presented as objects of desire, prey. The classic shot of Freddy's steel claws sticking out of Nancy's legs in the bathtub, of course, has commercial considerations for erotic edgeball, but I think this kind of bloody porn also constitutes a kind of reflection of adolescence, showing The world just opened up in front of young people—a steel claw loomed behind the wonderful foam of enjoying youth, because it was not told, because it was not expected, because there was no defense, this steel claw was especially for them. Incredibly sharp. Behind this steel claw, in the dream that Freddy dragged the children into, is the ugly secret of the bright society, the unspeakable reality, and the adults pretending to say "the world is like this" and "don't." Make a fuss". After naive and futile resistance, unheard and trusted calls for help, the teenagers finally understood at some point that adults did not know or believe, but became accomplices in this society, and you, me, they A child who truly loves is the next lamb in this society with a burnt offering.
familiar? Save the Children ironically appears in the overtones of a horror movie. This 1984 film also has echoes of 68 nearly 20 years ago, using its heroine to shout out anger at cowardly, hypocritical, ostrich-drilling adults and their bluffing authority (that's the paragraph I've been talking about). I shouted f words with her, hoping the neighbors didn't hear me and sent me to the Sixth Academy of Peking University), but soon after the climax I fell into a deeper weakness. The truth does not bring strength, neither does courage, you are still small, and you are still light. At the end of the film, the red and green striped car that Specter turned into took away the souls of boys and girls, and the adults controlled by Freddy smiled and waved. The mood of the audience is about as low as Salinger in the 50s.
And those whose souls were taken away by the devil finally became us.
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