People don't always believe in aimless behavior and always ask for the motive behind things. It turned out that in the script class, the teacher would ask "what does your character want?" every class, and every time I said that my character didn't know what he wanted, the teacher smiled contemptuously, "Impossible, think about it, there will always be come up with". What does Freddie want? Freddie is a 250-year-old, he basically doesn't think too much, and his actions depend on the feeling of the moment, so he can justly beat the guests who take pictures, jump on the master's boat, stop the police from taking the master away, and even kick him into the cell. toilet. All these seemingly abnormal behaviors are perfectly normal in Freddie's logic. Freddie's character is very similar to Ding Crab in "The Big Times". Ding Crab always feels that others owe him, and he always feels that what he has done is right, and he can find a reasonable and just explanation for himself even when he does bad things. But Freddie is much kinder and will not cause harm to the people around him. His 250 has a poetic and romantic temperament.
In the opening scene, he masturbates in front of the sea, and poking the genitals of women in the sand can easily make people feel obscene and obscene. When he rests next to a woman in the sand, people are not ashamed of it, and when the same scene appears at the end of the credits, it all seems to be especially beautiful. Freddie is like this, seeing everything can be associated with sex, and he was born with Freud. He imagined that the master's wife, daughter, and the female believers singing and dancing around the master could all be naked. This is his logic, even in the face of the master himself, he can admit everything without concealment, and refuse to put the label of "abnormal" on his head. In fact, Freddie knew himself very well from the very beginning. He could answer a series of simple questions such as "who is he" without hesitation. He knew that he "feel bad", but he didn't know why, and he himself had no desire to go. It's like he didn't know why he didn't go back to find Doris.
It was the Master who complicated his thinking, and the Master used a series of intellectual and physical training to make Freddie more like a normal person. I don't think the Master "cured" Freddie, because Freddie was never "sick" from start to finish, and he didn't believe in the Master's so-called teachings at all. What Freddie needed was not a doctor, but a "parent" who would take him, care for him, and give him something to rely on. Freddie grew up at the end of the credits when he was comfortable asking the questions the master asked himself when he was having sex with a big tits woman.
Master: The master is the leader, who can respond to every call and lean gracefully by the bed in the cell. But he is not the main character. It seems that her wife is the big boss behind her, and she believes in the teachings he created more than him. One is the scene where the wife is helping the master masturbate. The master is completely under the control of his wife, like an obedient child; the other is that when the Book2 was published, the master suddenly broke out in the face of Helen's question, as if he had already lost confidence in all this. Very fragile. The master likes Freddie and protects him all the time. What he admires is Freddie's unrestrained, close to "free" state, while he himself is full of restraints. Thick teachings, social norms of behavior, wife and children, church members, and social doubts, he can only rely on his wife to masturbate (Freddie is so frustrated that he can sleep with women everywhere).
Acting: The Maestro and Freddie are brilliant. Especially Hoffman, that big face, N close-ups, every muscle is a play. In the scene where Freddie was sent to the cell, the simple Pan framed the two cells together, and it was exciting. One thing that Hoffman shines is that the master's characters are written a little more varied, and the characters themselves are more brilliant.
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