When it comes to "Mrs. Kramer", one of the most classic family films in film history, the entanglement between family and women's liberation is often revisited again and again. However, even if the topic is temporarily out of the background of the hot and fresh era, it now spans 40 years. Looking back, the film's shaping and grasping of the sense of distance is still not inaccurate-whether it is between the characters or between the characters and the audience.
The appearances of Mr. Kramer and Mrs. Kramer are similar in form to the play, and even symmetrical, each setting out a set of character relationships and giving a key information point in the dialogue. However, some of the mid shots of Mrs. do not focus on close-ups and mid shots, with a red desk lamp as the light source, while in the part of Mr. or blue, the difference between the scene and the tone has opened up a different psychological distance. The way to give the message that the wife is about to leave here is to close up the disappearance of the smile when the child responds to "see you in the morning." The psychological distance can be expected to predict the audience's sensory-predisposed acceptance and understanding of the behavior of the wife's departure. Immediately after the delay, the contrast between Mr.'s close-up and Mrs.'s medium shot brings the audience closer to Mr.'s sense of consternation.
Within five minutes of the feature film, the director conveyed his sympathy for the two characters one after another, laying the foundation for the whole film's emotion, just as Hegel's definition of tragedy: "No one is at fault, everyone pays for what is right." cost. "
The first outburst of conflict employs quite a bit of spatial trickery to establish a sense of isolation between the characters. The corridor in and outside the elevator, the door frame when making a phone call, the door panel separating Margaret when arguing with Margaret-in fact, Margaret is a projection of the lady, so clearly and cruelly showing their daily life together. Such a long distance between couples.
The most classic part of making breakfast is when the sizzling sound of the pot runs through the anxiety of the father and the audience. It can be seen that the characteristics of the father's performance when facing his son are that the more anxious he is, the happier he is, and the huge contrast between psychology and performance forms a strong tension. Also using sound was the next phone ring, which lasted for 17 seconds, creating a weak link of compassion between the static and stagnant family space and the gentleman who kept looking at his watch.
Next, when the father read the letter from the mother's departure to the son, the son turned up the volume of the TV in the back and said, "I don't care." In fact, this is the same as the father's smile and then cleaning up in a very happy background music. Like things, it reveals another kind of "distance"—the distance between the characters and the world and the distance from their own hearts. Nothing can really penetrate this distance, but sincerity and love can reach a kind of reconciliation to a certain extent, just like that night when the father swallowed the wine and went back to his son's bed. Facing his grievances, he finally said everything.
And when it comes to the reconciliation of the titled "Mr. and Mrs. Kramer" (although they are no longer a couple at that time), it will come to court. On one hand is the mother, who is trying to break free from the painful shackles of her identity and seek freedom, and on the other hand is the father, who is trying to take care of the embarrassed and unwilling to give up. As the frame progresses, we gradually become immersed in their emotions, and the lawyer's questioning puts the audience under pressure beyond the rhythm of the rhythm. But anyway, they understood each other. The sympathy between sadness, anger, and helplessness when Mr. Kramer shook his head hit the hearts of so many people. Perhaps many pastoral feminists today see this episode before accepting that patriarchal society oppresses both sexes simultaneously.
The second breakfast-making segment is in stark contrast to the first. They didn't speak, but their eye contact was full of tacit understanding. The film's reconciled family-friendly ending is too idealistic, but no matter how it ends, the story finally penetrates, more or less, an unspeakable distance within the family or the individual.
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