Between mothers and daughters, we see the deepest admiration, and we capture the most comprehensible ridicule and boredom. This love-hate relationship, which is both enemy and friend, is thicker and more fake than the relationship between father and son. In the ordinary daily life, the thrilling confrontation between women's particularly sensitive hearts, such as the strong light of lightning, scars the soft heart, with the most cruel and clear memory, even if it is a lifetime, it can't be dimmed and relieved. For example, Zhang Ailing, when writing "Little Reunion" in old age, reappeared the confrontation between mother and daughter with tears and blood. She was still brooding about her mother's unconditional and full love back then, and every poisonous sword of emotion was hidden in her heart. Check often.
Lu Xun said, "Home is where we live and where we die." It is precisely because we have no way to choose our birth and our parents. The tug-of-war and torment over time have only made this fateful ruthlessness more apparent.
Bergman's 1978 film "Autumn Sonata" showed the love-hate relationship between mother and daughter. Her mother, Charlotte (Ingrid Bergman), is a brilliant orchestra pianist, and her eldest daughter, Eva (Lif Ullman), is married to a country vicar and lives in a lakeside vicarage. . The youngest daughter, Helena (Lena Nyman), was sick and frail since childhood. She lived in Eva's house and could only communicate with Eva through her broken pronunciation.
Eva and her mother Charlotte have not seen each other in seven years, and the mother has been absent from the important life events of the eldest daughter, marriage, childbirth, including the death of the child. For the sick and disabled second daughter, she threw it into a corner of her memory like the dissonance of life. The film begins and ends with Eva writing a letter to her mother, in a loop structure. Her mother Charlotte agreed to go to Eva's house in the grief of losing her husband. Eva was both overjoyed and confused: After seven years, what did she want this time? And Eva's question is also a self-question, a confirmation and a test of whether she has grown up, whether she already has enough power to compete with her mother?
The love and hate of the three
The first conversation between mother and daughter was a narcissistic, self-pitying monologue of the mother looking directly at the camera: Charlotte looked into the void, and the camera cut to take care of her dying husband in the ward, and in her sympathetic account I didn't look at my daughter. And when the camera turns to her daughter, Eva looks at her mother with bewildered and fascinated focus. The two sat down and started talking. Eva talked about her sister Helena, who was also looking forward to seeing her mother at home. Her mother Charlotte was obviously taken aback and tried her best to hide her panic and rejection. When Lianna was in the room in front of her door, her mother was full of love and affection.
Eva acts as Helena's interpreter. During the family's intimate communication, Bergman took turns to feature Charlotte and Helena. The two daughters watched the mother's superb and seemingly impeccable emotional performance just like us. The hesitation and disgust in her eyes revealed her mother's panic. The mother's indifference and alienation of family affection under the warm appearance of the mother's decent disguise, the repressed grievance and anger under the attentive and eager eyes of the eldest daughter, and the reality of aphasia and the loss of her mother's protection under the touching tears of the younger daughter. The confrontation of the three pushed the plot to its climax in a night talk.
Eva released herself after drinking, and finally revealed her love and hatred for her mother. She returned to her childhood in her memories, accusing layer by layer of pain and torture that distorted her face. In the textbook acting skills of Mann and Ingrid Bergman, Bergman does not show the two actors in the same frame, but closes the camera to the characters. There is no way to hide.
When taking a close-up of Eva, the slightly upward-looking camera position gives people a sense of oppression. The docile and humble Eva looked arrogant and indiscriminately accusing at this time, her eyes cold and ruthless. In the close-up of Charlotte, the close-up camera with a bird's-eye view in the head-up view shows the rare weakness and self-blame of her mother Charlotte.
"Mother suffers so that her daughter suffers too. It's like the umbilical cord hasn't been cut... Mom, is my sorrow your secret pleasure?"
"You speak your thoughtfulness, in a tone of concern, and not a single detail escapes the energy of your love... The real me will not be loved or accepted in the slightest. Losing myself more and more. I say what you want me to say, imitate your gestures. Even when I'm alone, I don't dare to be myself because I hate those things that belong to me."
"You're emotionally crippled, and the truth is you hate me and Helena. You're closed inside and always think about things from your own perspective. I love you, but you think I'm nasty, stupid, and a failure. You hurt me all my life, and you hurt too. You attack everything that is sensitive and fragile. You kill anything that has life."
The blood and tears of the daughter's accusation are hearty, and the words are touching, like an imaginary outbreak in the family, and can the mother fully accept it?
In the film, the mother defends herself: "I don't remember my parents ever touching me, I am ignorant of anything related to love, tenderness, touch, intimacy, warmth, only through music can I express my emotions "Charlotte was not as indulgent, rude, and indiscriminate as Eva's emotions, but Charlotte still clings to the elegance of a pianist and doesn't reveal her true thoughts about her daughter. Bergman made Ingrid Bergman lie down on the rug, letting her old age and frailty manifest in relaxation, and returning her to childlike condition.
The film is an ocean of words. In most indoor shootings, the inner words of the characters are displayed, and the emotional conflict is expressed by the confrontation of words, words, words, monologues, monologues. In the dramatic climax of verbal venting, we were deeply moved by Eva's cry-like accusation, when the youngest daughter Helena upstairs contorted her body in pain as if she had received telepathy. He rolled off the bed and climbed all the way to the top of the stairs, looking forward to his mother's care and comfort. She screamed and roared, Mom, to her mother, Charlotte, who was going through an emotional breakdown, shouting, "Help me." Mothers and daughters are emotionally drowning, unable to rescue each other.
The relationship between the three people in the film is more about the relationship between Eva and Charlotte's mother and daughter, Helena's aphasia, only Eva can understand her incomplete pronunciation, this role is set with mother and daughter A metaphor for hopeless communication. Helena is the finishing touch in the film, an accent on the mother-daughter trauma.
Three sets of alignment
The first movement of Handel's Sonata in F major (Opus No. 1) played in the Xie Qi list at the beginning of the film, the sonata in the warm orange-yellow color is brushed like a pair of gentle hands, with the beauty and agility of love, soothing and relaxing. relax. With Chopin's second prelude performed by mother and daughter respectively in the play - poignant and sad, with the solemnity of performance, it forms an emotional contrast in music. The former is the ideal mother-daughter relationship, the beautiful expectation naturally revealed when Eva writes the letter and the beautiful prospect Charlotte persuades herself to leave, while the latter still pulls them back to their inherent emotional pattern— —
In this play, the daughter begins to play timidly until she plays for her mother tremblingly, always watching the sheet music nervously, and after playing the last note, she puts her fingertips in her mouth as if trembling, and waits in horror for her mother Evaluation / "Sentence". During the performance, the camera turns to Eva and her mother Charlotte, and we see the impatience and denial flashing on Charlotte's dignified face, followed by the performance-like tears and emotion, and then the expression of indifference. . And her verdict was, oh, she loves Eva, subtext with unbearable seriousness about Eva's wrong playing. Then, ignoring Eva's hurt expression, she explained the music without any explanation, and demonstrated the performance in person. The camera looks at the mother from the corner of the eye, focusing on the daughter's face. This injured face looks down at the piano, and then slowly raises her head to look at the godlike mother, her eyes showing sorrow, as if staring into the abyss. The power of the mother swallowed up the humble and powerless performance of the daughter. The daughter looked at the mother, the mother looked at the piano, and never looked at the daughter. The daughter sank in the silent cry of despair again and again.
There are not only the emotional counterpoint brought by the two pieces of music, but also the counterpoint of the two colors. Eva has been dressed in green (two outfits) or grey-blue loungewear ever since her mother arrived, while her mother wore an aggressive, flamboyant red at dinner, and the "green" Eva graciously served" "Red"'s mother, loyal and loyal like a servant. However, red also appeared in Eva's first shot. Eva's husband gave a monologue to the camera. With his wholehearted love and incomprehensible loneliness for Eva, he had no way of understanding Eva's inner sigh. Eva, who is writing a letter on the piano in the distance from the camera, is wearing a red dress, which is a metaphor for the relationship between husband and wife.
The other group of counterpoints is emotional compensation, forming a meaningful contrast in the handling of the feelings of mother and child between the two generations. How Eva was traumatized by her relationship with her mother was how she made up for it in her family. The son is the harbour and pillar of rest for her soul, bridging the cracks of love created by the mother. However, the premature death of her son pushed her into the real abyss. She had to face the dazed status quo of her own inability to love.
No love and reality and the possibility of healing
Love of any kind may give the neurotic a superficial sense of security, or even a sense of well-being. Deep down, however, he did not believe it, doubted and feared it. He doesn't believe in this kind of love because he stubbornly believes that no one can possibly love him. This feeling of being unloved is often a conscious conscious belief that is not shaken by any experience that is actually the opposite. Indeed, it may not be reflected at all in human consciousness because it is taken for granted and taken for granted; but even if it is obscure, it remains as indestructible and unshakable as it is often consciously conscious. belief. Likewise, it can be hidden in a "non-caring" attitude, manifested as a cynical arrogance, so that it is likely to be difficult to detect. This belief in being unlovable is very similar to the inability to love; in fact, it is a conscious reflection of the inability to love. Obviously, a person who can truly love others will naturally have no doubts that others will love him as well.
This quote, from Karen Horney's Neurotic Personality in Our Time, gives Eva a precise psychological note. Eva was not loved by her mother because she was a child, and as an adult, she was always looking forward to her mother returning home after the tour, looking forward to sufficient love and response. For not being loved, not loving, and not trusting in love. She answered her husband's affectionate confession with a light question, "It sounds nice, but it doesn't have any real meaning." The husband said: "When I proposed to Eva, she said she didn't love me, she said she didn't love me. Never loved anyone, she wouldn't love."
And the reality of Eva's loss of her lover's ability cannot be solved by a late-night chat. The mother and daughter still return to the emotional mode of getting along with them. At the end of the film, Helena screams sadly at her mother's unannounced farewell. , shouted. Charlotte escapes this predicament and is horrified on the train. After Eva returned to peace, she wrote to her mother again, seeking forgiveness. The emotional wounds of a peaceful life are still raging like a sea.
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