The whole film is more than 2 hours, and I don’t know how people who say in the short comment section that when a film talks about the unconscious, they are affirming its modernity. Part, what kind of plot is an unconscious description? Also, what is modernity? What kind of modernity does it reflect? Does the unconscious mentioned here mean what kind of modernity does the film embody, or is it an affirmation of the display of modern people's exploration and research in the direction of their own mental illness in the film? It is impossible to know from only two nouns which refer to unknown.
This concept promotes the innovation of the heroine's performance in the play, (almost completely overturning the original script's shaping of the character image, and re-injecting a completely different vitality into the character), and also implements the film's always- The woman at the beginning of life is killed, and the second woman is born. It seems that two/several kinds of consciousness compete for a body at the cost of one party's tragic sacrifice. We can find such an interesting thing - the dispute between subject and object, even within the same body, there are still fierce trenches. At that time, he was still his own friend, and at this time, he had to lash out against the different. The film restores this contradiction of human nature very well, not just to emphasize the importance of mental health by watching the terrible situation of human hysteria and madness (it is not difficult to imagine that if the two consciousnesses of the female protagonist interact with each other) Obedience and peaceful coexistence, the dramatic conflict described in the film will lose its logic due to this healthy peace, because in this case, the heroine will be a person who does not question and hate the script, and will not integrate her soul-deep thinking experience into it. The essence of what she is engaged in is the practice of the creative industry. She only needs to sit firmly on the image of a female star who earns both fame and fortune, and she does not need to waste time and energy just to kill herself and feel pain). There is no difference between what the arts and mental health advocacy departments do. In striving for a proper, self-satisfying expression of one's own life, the man's frantic drive to innovate and self-destruction sometimes seem like the same thing.
There is no waste in writing the whole piece (which is very important to me because I cherish time), and the whole play is not difficult to understand. The female star encountered a character with a sense of age, and was subjected to the "cruel influence" of this character, causing her to have frequent video and dialogue with a "virtual friend" who had everything (I wanted to say This is probably the female star herself when she was young. Because of the high similarity in appearance, and her status as a female star has such a past, it is normal, but it is not necessarily. The afterimage in the brain of a young woman whom she admired. The name of this avatar in the film is Nancy, which is taken from the heroine, a 17-year-old fanatical female fan who was hit and killed by the roadside on a rainy night for watching her. The heroine is divided. The source of consciousness can be traced back - her own emotions and "truth" can no longer be expressed as freely and candidly as when she was young, and the role she is playing happens to be an "old woman". As a result, she naturally fell into an age crisis. The more frequent hallucinations and insanity also promoted the depth of her performance-on the surface, she refused to accept an aging role, fearing that her performance career would be defined, and in the end she With the help of this "difficult" role, he made a breakthrough to present a richer and humorous performance to the audience in an experimental way (the heroine found an actor who played opposite her in advance, and persuaded him to abandon the original script and rehearsed it together with herself. The content of the performance, the two of them re-created and re-interpreted) the premiere night was a great success (although the two elderly producers were embarrassed and restless throughout the whole process, and comforted each other, anyway, we have all the wealth and fame, so we don’t have to be afraid of this time. fiasco)—enough to divert the audience’s attention from the age of the characters to the fuller portrayals of people the characters carry—age shouldn’t be a factor in their own artistic expression.
At the same time, this is also a gripping film-in previous rehearsals, the heroine has shown abnormal signs of going against the will of the script and her professionalism as an actor, and even more in private conversations with directors and producers. It is full of stalemate, confusion and unease. Until the night of the premiere, she, who promised to appear on time, did not show up on time. When she showed up, she was drunk and could not stand still. She made the whole crew tense and escalated. What will the performance on the premiere stage bring? This effect is even more unpredictable, and as a movie watcher, our hearts can't help but speed up. In the end, she miraculously overcame her drunkenness (don't know if she was overcoming a mental block for her innovative, subversive performance, or brewing her best acting state, more likely both) to show on stage. Such fresh and lively humor, occasionally breaking the fourth wall with a few playful little eyes and sending 2 seconds of current to the audience, not flattering to any preferences and restrictive rules, the prestige of the aging character who had tormented her in the first place. The pressure, the fear of growing old, the fear of losing a part of myself and the truth that I can no longer express myself in a full performance... In the premiere of Forget About Things, it has long since vanished. It's actually a story about human beings overthrowing themselves and trying to rebuild themselves. There's no sensationalism throughout the film, but it's enough to be emotionally charged--it seems like there are times when you ask yourself "who" you are. Am I Nancy or Myrtle? Which one should I be happier with? Why am I Myrtle and not Nancy? Just like the heroine of the film, she has entered the same scope of human motifs.
Rowlands played the role of this character who never left his hands with tobacco and alcohol, and was somewhat neurotic and self-splitting. In the film, when the producer thinks that the heroine is mentally ill and wants to take her to his sorcerer's place to eliminate disasters, the sorcerer turns off the lights in the room and lights candles before preparing for the ceremony. In the darkness, the sorcerer tells the heroine you The girl inside is the bane, so the hostess got up and turned on the light in the room and spoke like a normal person. She told the wizard that she was just a fictional friend I made to accompany me. Even the fictitious self/nostalgia for a certain image of youthful arrogance is also a part of the evolution of self-consciousness, and letting others outside the situation kill them with an ominous crime is actually tantamount to expressing oneself (the past that life is loaded with). and present history) can be disposed of at will. This is what the heroine noticed at the first time. Although the heroine painfully beats herself and kills herself when she goes back (people start their own prison for various reasons and get stuck in it, and when they are trapped, they want to break through the difficulties, and they naturally generate their own resistance and killing themselves. ——A violent phenomenon directed at oneself. In the film, Rowlands contributed a very tense performance to interpret this violent phenomenon, so that the force it brought went beyond the content of the performance itself, directly arousing the viewer’s own inner experience. Those who have not been subverted by self-violence may really only be able to explain it empty-handedly as unconsciousness or modernity.), but they actually hate others for lack of understanding and sympathy for themselves. The rough concept of decision.
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