From the feeling of powerlessness brought by the sentence "Forget it Jake, It's Chinatown" at the end of "Chinatown", to the extreme S/M relationship replacement in "Venus Wearing Fur", and many news events about him, such as Man The Mori family’s wife murder case and sexual assault allegations. Speaking of Polanski, it is always inseparable from the term "heresy", but works such as "The Pianist" and "Orphan in the Fog" have proved its ability to adapt classical emotions and classical texts.
Szpilman played by Adrian Brody in "The Pianist" is Polanski himself. "Steel" is also Polanski's autobiography. Due to Polanski's Jewish status, the young Polanski had to move with his family from Paris. After traveling to Krakow, his parents and uncle were arrested in concentration camps. Among them, his mother died in Auschwitz. Even if Polanski survived, he would not be able to leave PTSD. Childhood played a role in his future creative status. As Freud said.
PTSD can explode to extremes in "Immoral Judgment" and "Bitter Moon", and it can also spawn into an introverted demise. These are films such as "Strange Tenants", "Cold-Blooded Horror" and "Rosemary's Baby" Birth.
"Strange Tenants" and "Cold Blood Horror" are a pair of polyphonic variations, representing male and female perspectives respectively.
A long shot at the end of "Strange Tenants" turns the "rear window" space into a reverse stage. The camera pans and moves up and down to scan the "audience" in the "box" in front of the window, just like the protagonist in the play. The phrase "I hope that the day when I am executed, there will be a lot of people coming to watch the show, and they all yelled at me with hatred." Then, under a bird's-eye view of the camera, the alien Trelkovsky jumped off. The floor and the posture are the same as the previous Susan Shaw. This is another "Victorian" story. In Hitchcock's "Victorious", we also see a similar plot and lens language.
In the earlier "Cold Blood Horror", the "delusion" is even more obvious. The original name of the film is Repulsion (disgust). In that cramped apartment room, all expressionist symbols point to Freud. Dreaming coding, such as a crack on the ground, or the famous shot: the tentacles stretched out in the narrow corridor engulfed the heroine Carol.
In the setting of "Cold Blood", Polanski deliberately used a wide-angle lens to build the visual impact of the illusion on the audience, and even lengthened the corridor walls on the set.
Although Polanski was dissatisfied with the final production of "Cold Blood Cry", calling it "the product of artistic compromise", "Cold" finally presented a typical "Polanski horror", which was his One of the styles is that it is not the kind of "female equal rights" film that responds to the hot "Me too" movement. We have not seen real mental or physical violations. In Carol, it is a saint. The image juxtaposed with the continued child, she needs shelter, but refuses to grow up. If the outside world can easily take her virginity away, her fear still comes from the inside, not from the hostile and dangerous outside world. ) The fear of replacing the penis itself.
For Polanski, the real fear comes from a withdrawal behavior, which occurs when the individual withdraws from the outside world. The advancement of the film's plot can also be regarded as a process leading to the heart. In the depths of the heart, there is another world, controlled by the desire and fear of the self, a creepy night. The small room extends the imprisonment and anxiety of the psychological space, as well as the irreducible things.
These introverted films have an end: violence or their own demise.
The "introverted horror" of "Cold Blood" was deepened in another Polanski's subsequent film. This film is the famous "Rosemary's Baby". In the film, a seemingly "horrible" description of an all-pervasive The cult conspired so that one year after the film was released, his wife Sharon Tate was killed by the "Manson family" in Beverly Hills with her eight months pregnant. But the content of "Satanism" in the film is nothing but a misappropriated text.
An empty shot at the beginning of the film swayed from the high-rise New York to a Gothic apartment. Most of the time, this slightly weird neighborhood was in the same space as the familiar New York.
The horror comes from the daily life of the middle class. For most of the time, Rosemary has to deal with the more "enthusiastic" and strange neighbors and her increasingly weird husband.
In the conversation between the two, the husband Guy first mentioned the anxiety of whether the actor Baumgart, who competes for the same role, would restore normal vision, and kept reiterating the importance of this role to him, the sentence "Shall we have a baby?" Later, he mentioned his desire to be a father. "We might as well have three children at once," Guy said. This sentence is not so much a discussion as a conscious or unconscious command.
Guy is a perfect "male image", perfect enough to constitute his wife's misogynistic delusion. He is focused on his career and lacks emotional communication, but he is passionate about patriarchy, hoping to fulfill his wish of giving birth by touching his wife's body. "——This is the only communication between husband and wife. In this "father" there is only a penis and no love. This is the opposite of Rosemary as a woman who longs for love but fears the penis and its power. This is how he alienates in Rosemary's gaze. Exist in the form of a "predator". These daily plots also falsified the subsequent "conception", or the illusion of being raped, and made the images we see subsequently subjective, unable to prove its existence or not. In this delusion, all All fires of hostility are united as the object of confrontation.
Therefore, the child has disappeared, it must disappear, Rosemary must also search, so that she can see that child is lying in the black cradle, "blessed" by Satan, the inverted cross hung on the cradle, imitating Maria’s pregnancy, this is the Satanic version of Christmas.
The above is Rosemary's curse on this child. She hopes that this child will disappear to continue her childhood. This desire has to be suppressed and replaced with "I want to keep my child", but on the way back to herself, " The idea of "I want to keep my children" cannot stand, facing the guilt of the self, it can also prove to be fearful.
Suffering, trauma, and guilt are always the source of Polanski’s works. His memories of war and Soviet power politics can also prove to be a fear of penis power. All old wounds lead to new suffering. Regardless of whether he portrays himself as a woman in his works, he must face and respond.
Perhaps, just like the ending given in the last scene of "Rosemary's Baby", she walked to the cradle and shook the son of Satan inside, the inverted cross swayed and swayed...
references
Roman Polanski: "The Memoirs of Polanski", translated by La Peikang, Beijing, Xinxing Publishing House, 1st edition, January 2008
Slavoj Zizek: "Enjoying your symptoms: Lacan inside and outside Hollywood", translated by Wei Guangji, Nanjing, Nanjing University Press, 1st edition, November 2014
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