so-called freedom.
Some people like freedom, and some don't.
People who like freedom are powerful men full of passion. They are the voice of God, the horn of angels, and eagles that hover high in the sky to hunt for the sun. They always carry their passion in their robes and walk up against the current of life. , Life will sharpen the edge of pride. The so-called destiny-the destiny persevering in the wind and waves, is not only an enemy oncoming at any time, but also a comrade in arms with a whip behind him.
Unfree people are like puppets being thrown around by the ropes of fate. Destiny is fixed, just like the stone-pushing myth that life is eternal and absurd. From the perspective of those outside the matter, Sisyphus' actions are consistent, passive, and repetitive. Oedipus is the representative of the people in these plays: small humans cannot escape the shackles of fate. Only in these tragedies can people vent their painful, bored, and helpless emotions.
However, fate does not exist in the eyes of modern people who have broken away theological superstitions. Over time, it has served as a metaphorical negative argument in the debate about whether people can obtain freedom. In the 20th century, this argument was interpreted in the opposite direction. Camus understands "absurdity" as "giving people the hope of freedom". "If absurdity destroys all my chances of permanent freedom, it will return and praise me for my freedom of movement. This deprivation of hope and the future means that people have more freedom to dominate and move at will."
Freedom is beyond.
"Being Jone Markovich" ("Being Jone Markovich") (1999) by Charlie Kaufman (1999) has a strange plot: "Puppeteer" Craig is squeezed on the 7th and a half World work. The ceiling there is very low, and people always bow their heads and bow their waists when they walk. Once in the office sorting out documents, he discovered that by drilling into the passage in the wall, he could enter Markovic's mind for 15 minutes and experience the world through his senses. Craig's wife Lottie has fallen in love with the feeling of being in Markovic's body since she entered this passage. At the same time, Craig and his admired colleague Martha began to earn extra money through this channel. People who want to become Markovic came in response to the advertisement, and there was a long line outside the office...
"Markovic's body" has become the object of competition, as if it is such a perfect body, everyone can find themselves in the process of being, chase ideals, and achieve long-cherished wishes. On the surface, the film is an adult virtual game in modern society. In a deeper sense, it is in the process of "being". Lottie experienced being Markovic again and again, her eyes were full of madness: "I think, this is me!" She finally found the truest self. Her hidden emotions were revealed, and she fell in love with Martha as Markovic.
Craig relied on Markovic's body to become famous. Martha still doesn't love him, but she married him only because he has the body and wealth of her lover. A few months later, Masha was pregnant with Lottie's child. She looked haggardly at Lottie's doll, her face desolate and full of emotion. Martha and Lottie met again on a narrow road, after chasing and rolling in Markovic's mind, they finally kissed deeply and unscrupulously in the heavy rain. They happily left Craig, who was catching up, behind them. Lottie didn't need Markovic's skin anymore. She has completed self-transcendence. It is self-return. Craig has always been passive in
a life entangled in consciousness
. At home, he complained to the orangutans that "how good animals are, you don't have consciousness" (can people blame their incompetence on "consciousness"?), and set up a stall outside to hide the puppet show from turning people's eyes. He finally got a job. The workplace was very special, the ceiling was very low, and the staff all hunched back and walked. The real workplace is nothing more than this: In order to occupy a corner of society, who is not depressingly busy for this and that all day?
He was nicknamed a "doll actor" by Martha, and he himself was just one of the dolls. This is how the film opens: Craig-like doll sees in the mirror that he is just a doll, and immediately becomes frightened, helpless, painful, and panicked. He waved his empty arms in the air, rolled left and right in the room, and finally Curled exhaustedly in the corner of the wall, his hands hung between his knees and sobbed secretly.
Throughout his life, Craig did not escape the fate of a doll. He is a wandering soul. Becoming Markovic is only to resurrect his soul. He cannot realize his ideal through his own efforts. Only in Markovic's body can he have a career and possess a lover. But that is not his own life, his life is only for Martha, but Martha does not love him. He happily manipulated Markovic’s body, but he didn’t realize that the thread of his body was firmly in the hands of others. He couldn’t get out. He staged a humble farce in the center of his small stage. .
He left Markovic's body, and went into the bodies of Masha and Lottie's daughters, from one lair to another, but it was not himself.
Freedom is nothing but the attainment of oneself. Of course, when people have consciousness, they also have painful struggles. For example, with so many choices before you, which way do you choose? Animals have no consciousness, and of course there will be no such dilemma. But we should also see that the cause of freedom is also consciousness. Without self-awareness, without the desire for self-realization, what is the point of being a human being?
Freedom is not an illusion
Heidegger believes that freedom is a human innate characteristic. People have two kinds of existence. One kind of existence is "freedom"; the other kind of existence is "sinking" and "alienation." Such people have lost their freedom and independence. The "Being" in the title of "Being Jone Markovich" alludes to the theme of "being". Lottie and Craig are two sides of existence. Lottie asked for freedom. But Craig has never been independent, unable to extricate himself from the cocoon. The film ridicules Craig, sympathizes, and calls.
The end of the film is very interesting. The daughters of Masha and Lottie are in the swimming pool and are in the water. The ending music is filled with Bjork's "amphibian" ("amphibian"). Humans are such amphibians that can exist in the dual world of reality and freedom. Bazin explained the psychological effects of the "ocean" in the image in "What is the Movie": "It is not surprising that diving into the sea will inevitably give people a sense of return to the original." Freedom is the return to the most authentic state of existence. Return to the original. It's also like going home. The little girl is like a flexible fish in the water. She makes us, and those who are immersed in the water but not swimming, believe that it is possible to become a free fish. Although it may not be so easy, people can always control the line of life by themselves in this free world.
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