And, before exaggerating the sanatorium as pure bureaucracy, you should see that there are also close friendships here, not everyone is an isolated walking dead, in order to adapt your application to interpret the text of the Kafka Castle carrier of this film , and deliberately filtering out the information in the film is really putting the cart before the horse, which is the academic attitude of a hooligan. Millie's chatter can't be called trying to communicate, because before Pinky's suicide, Millie's consistent themes were completely self-centered, and her main purpose in speaking to others was to show off, showing off her knowledge and cooking skills. , high-quality, popular, chased by men, etc., brainwashing others and herself, so that everyone thinks her life is going smoothly. Not to mention whether she deceived herself or not, in the eyes of people other than the naive Pinky, she is still a mediocre-looking, boring, pretentious, pretentious, "crazy for men and crazy" group ridicule object, a renter. Women from the lower classes of society who have to share rent with others in a low-cost room with only one bedroom, and have a low-wage job with no future. Her advantages are being independent and capable, social, and active. Although she has no money, no appearance or connotation, she will tidy up her room in a decent manner, pay attention to her hair and clothes, and keep herself in a decent manner. It doesn't matter if she has no thoughts. Talk about some practical and literary topics to make people feel that you are capable and tasteful (of course, only a silly and naive little girl thinks so; not only that, but also thinks she is "perfect" and makes herself a god.) .
In fact, when she babbles, she doesn't feel like a human being with an emotional personality, but like a clockwork robot. You watch and listen to her chatter and you feel like you're falling asleep - that's what happens when you're around people who are energetic (similar to "The Night Run" haha). So, before the audience realizes it, Altman has used all kinds of techniques to bring him into the dreamland of the film director, the dream maker, the bar and the surrounding places (abandoned amusement park, mural swimming pool, shooting range) ) (compared to the real bar after waking up), Willie's paintings are surreal.
Run away, and then talk about Millie's machinery. She had blamed Pinky for putting shoes in the living room and milk cartons in the bathroom. It's just a less formal party between friends, and she's going to buy another bottle immediately because Pinky has overturned a bottle of condiment (Millie's mechanical stereotype is all the more ridiculous considering the four friends don't want to come at all. It is a machine that has no reason to exist and is unnecessary, a real bureaucracy). Even at the end of the film, Millie also appears as an almost autocratic parent (the camera zooms out to the house where the three women live, Millie keeps telling Pinky to do this and that in the soundtrack, Willie can't see it, please don't treat Pinky like that Strict), but there is less a scumbag scumbag western cowboy who is the point of intensification of women's conflicts, and there is more "witch" Willie who is more unburdened, open-hearted, still kind but no longer so mysterious. Relationships become conflicting but reconcilable.
"Ping Ji was raped by Doctor Norton in a coma", this can still be taken seriously, and it is also cute... This is a big change in Pinky's temperament after waking up, inheriting Millie's paranoia that "men all over the world want to sleep with me" That's all, and from the context of the lines, we know that she made up these stories just to make Millie give up the bedroom to herself. Although there is a nurse in Pinky's area, who is called stern, even the visiting Pinky's parents have to be interrogated before letting them in. The ward is transparent, and there are so many people coming and going, so many eyes, raped.
"Millie's companions downstairs care about each other, such as saving Ping Ji, but they are too timid to express their emotions and opinions, never dare to take the initiative to invite Millie to join the dinner, and those who spend time with Millie every day. The indifferent doctors at lunch." God, that's not cowardice, it's disgust, the neighbors get along well, and the tacit understanding when the group ridiculed Millie was not built, it was Millie herself being isolated from the crowd. Millie spends double the money every day to go to the hospital cafeteria to fish for men. The interns know it well and are too lazy to pay attention to her. Of course, there is also the factor of being exhausted physically and mentally by the hospital bureaucracy. But I still feel that the person who wrote the long review either read bad subtitles and poor English, or is somewhat paranoid.
"Pinky often does wrong things unconsciously, which shows that she has been deeply eroded by the bureaucratic world." Isn't her wrongdoing anti-bureaucracy, free, and uncorrupted?
For the last few minutes of the film, I think that it is all the dream that Willie said on the balcony that he can't remember the content of (the whole film starts with a vague, slow and mysterious picture style, the last scene of the dream scene—the scene of the production ceremony and Pinky’s long, terrifying look also feel out of context), or the last few minutes are surreal, in short, it can’t be both. Pinky was shocked by the ceremony of Willie's production, and her self changed greatly, but why did she have to submit to Millie psychologically with a mother-son relationship? Why can't it be the original form of surrender, but must be called Millie's mother? When they had a private conversation, Pinky still called Millie's mother, indicating that it was not a role for outsiders to see, but a natural ethical relationship approved by personal psychology. When I just watched it, I felt that it was Willie’s dream in front of me (W felt that M was too strict with P, and the baby would rebel sooner or later, but I had a dream, the baby really rebelled, and the sense of crisis was released in the dream; women may The scourge of the scumbag was done. After all, it was a murder that was not allowed by the law. He was awe-inspiring and afraid of retribution, so he had the fantasy of giving birth to a dead baby and got the retribution. At the same time, the dead baby also represented the lack of male only The ominous premonition that the remaining women will lead to the tragedy of the end; M and P are fantasized to work in a nursing home for the elderly, because Willie, a grandmother, is old and cares about old age, so she put this element into a dream, and old people like herself are caught by M. and young caregivers like P; etc), but doubt that all of the preceding episodes can be considered legitimate fantasies of Willie in the so-called "Trinity" ethical and social relationship? Are there plots and fantasies that could never have arisen in the grandmother's mind, and that she lacked the ingredients for fantasies? But having said that, Willie's positioning in the film is almost omniscient, which is the highest level of consciousness. But the last few minutes might also be seen as a surreal female-only utopia. In short, seeing all the previous episodes of the film as dreams increases the psychological content of the film exponentially. Personally, I really want to see an analysis that is as detailed as the review of "Mulholland Drive". I don't have the energy, time or time Ability analysis (lazy
only personal prejudice: Compared with "Three Women", even "Masque" is slightly clumsy and deliberate. Of course, the juniors who step on the shoulders of the seniors should be better than the seniors. In "Three Women" The free and natural flow of female consciousness when seeking identity recognition, breaking the boundary with soft power without leaving a trace, is really rare.
View more about Three Women reviews
