Just like a realistic "Faust", the title means "Second Chance", "The Devil" lured the aging Arthur to sell his soul and gave him a second chance to experience the intellectual society with hedonism. Although Arthur had lived a rich and quiet middle-class life, his life had withered. In addition to the troubles, the "devil" appeared at the right time and reborn him through surgery. Arthur tries to perceive his struggle for freedom with his new identity "Tony". On the surface, it is easy and even beneficial, but it is actually very difficult. Not only must he cut off all connections, including family and friends, but he must also re-exist in a completely unfamiliar environment. new life experience. What followed was embracing the hedonism of the new age, the kind of life that middle-class men in the 1960s could only dream of. To paraphrase a quote from the movie, "What every middle-aged American man wants - freedom." This utopian material life is like economic consumption to the middle class, and "Tony" is also a consumer product. Arthur bought products to use "Tony", but he failed to develop and utilize new resources, and failed to make good use of new resources. Like other buyers, they integrate into this big market, and the final result can only be abandoned by developers. The story is in line with the theme of Kafka's "Trial": "The logic of a dream, the logic of a nightmare." The film uses three scenes to explain the three-stage psychological changes of the protagonist: a spring dream, a sweet dream, and a wake-up call, while a comprehensive It was a nightmare to wake up. Arthur's sexual repression: Arthur's psychedelic dream after falling asleep in the department office for the first time, the black and white checkerboard tiled floor in the bedroom one after another, the young woman lying on the bed makes him insane, like a drug-addicted surreal. Amplifies and exaggerates male midlife crises and sexual fantasies. Tony's Sexual Emancipation: On the Dionysian Day at Marbury Beach, many young men and women jumped naked into the wine trough and stepped and jumped. The shy Tony also let go under the heroine's persuasion. Seemingly a farce, this scene is meant to show his free release, which is his liberation of "Arthur". Dutiful middle-class middle-aged men are easily confused by these new things. In essence, this is just a fantasy utopia for them. This play critically presents the depravity and debauchery of the hippie culture. The duality of Tony/Arthur: At the cocktail party, Tony was completely desperate in front of his confused life and false friends, and he revealed the secret through a few glasses of wine, which made other "products" panic. The so-called "heaven's secret cannot be leaked", once it is revealed, it is the day when Faust will die. The dying Tony revisited his original home as a guest. It seemed that at this time he could recognize himself again through the mouth of his wife, but it was too late. The character is a dual identities—duty middle-class (middle-aged men) and hippies (young men). As the former, his life is boring; as the latter, the identity of the former also emerges subtly, and such contradictions and self-knowledge have always been mixed together. The two are fighting, deepening his uncertainty about himself. After "Arthur" was abandoned by society and his family, "Tony" was eventually abandoned by the new society and his new identity. The film digs deep into the inner world of middle-class men in the United States at that time, reflecting their empty, soulless and good disguise spiritual world, uncertain about marriage, full of confusion about the future, full of fantasies about young women, and addicted to pleasure at the same time. In ideology, it is full of rebellion and questioning of values. This is director John Frankenheimer's most shocking, experimental sci-fi art film. When it comes to identity, the psychological crisis of middle-aged American men - yearning for freedom, youth, emotions and ideals. Frankenheimer made a lot of bold technical attempts in the film (as did "The Manchurian Candidate" four years ago). Photographer Huang Zong is credited with a dizzying and dazzling combination of fantastic lenses, live-action shooting, handheld photography, first-person subjective shots, a lot of weird angle close-ups with wide and deep focal lengths, jump cuts, long shots, and binding on people The camera's close-range long-lens follow-up shooting, fisheye lens, etc. throughout the whole process, greatly enhancing the film's sense of unease. Frankenheimer's most shocking, experimental sci-fi art film. When it comes to identity, the psychological crisis of middle-aged American men - yearning for freedom, youth, emotions and ideals. Frankenheimer made a lot of bold technical attempts in the film (as did "The Manchurian Candidate" four years ago). Photographer Huang Zong is credited with a dizzying and dazzling combination of fantastic lenses, live-action shooting, handheld photography, first-person subjective shots, a lot of weird angle close-ups with wide and deep focal lengths, jump cuts, long shots, and binding on people The camera's close-range long-lens follow-up shooting, fisheye lens, etc. throughout the whole process, greatly enhancing the film's sense of unease. Frankenheimer's most shocking, experimental sci-fi art film. When it comes to identity, the psychological crisis of middle-aged American men - yearning for freedom, youth, emotions and ideals. Frankenheimer made a lot of bold technical attempts in the film (as did "The Manchurian Candidate" four years ago). Photographer Huang Zong is credited with a dizzying and dazzling combination of fantastic lenses, live-action shooting, handheld photography, first-person subjective shots, a lot of weird angle close-ups with wide and deep focal lengths, jump cuts, long shots, and binding on people The camera's close-range long-lens follow-up shooting, fisheye lens, etc. throughout the whole process, greatly enhancing the film's sense of unease. Frankenheimer's most shocking, experimental sci-fi art film. When it comes to identity, the psychological crisis of middle-aged American men - yearning for freedom, youth, emotions and ideals. Frankenheimer made a lot of bold technical attempts in the film (as did "The Manchurian Candidate" four years ago). Photographer Huang Zong is credited with a dizzying and dazzling combination of fantastic lenses, live-action shooting, handheld photography, first-person subjective shots, a lot of weird angle close-ups with wide and deep focal lengths, jump cuts, long shots, and binding on people The camera's close-range long-lens follow-up shooting, fisheye lens, etc. throughout the whole process, greatly enhancing the film's sense of unease. Frankenheimer's most shocking, experimental sci-fi art film. When it comes to identity, the psychological crisis of middle-aged American men - yearning for freedom, youth, emotions and ideals. Frankenheimer made a lot of bold technical attempts in the film (as did "The Manchurian Candidate" four years ago). Photographer Huang Zong is credited with a dizzying and dazzling combination of fantastic lenses, live-action shooting, handheld photography, first-person subjective shots, a lot of weird angle close-ups with wide and deep focal lengths, jump cuts, long shots, and binding on people The camera's close-range long-lens follow-up shooting, fisheye lens, etc. throughout the whole process, greatly enhancing the film's sense of unease.
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