The film begins with the repeated spinning of turbines, aimless planes, a bewildering cloud of artillery fire, sharp and regular horns. The Iron Curtain across Europe is in front, and all industrial symbols have enough reasons to appear. The cannonballs galloped, burned, fell, and strayed into the sea with the sound of the horn, so they suddenly switched to the beach with girls in swimsuits. They had no color, not even movement (each gesture was accompanied by a subtle creaking, reminiscent of the Czech puppet tradition), sitting there numbly and innocently, Mary II blew a horn and said , ani na mi to jde (I don't care), mary one picks up, tak co nám jde (what can we do), mary two puts down the horn, nic nám nejde (we can't do anything), flashes The high-rise building that passed by collapsed, Mary 1 began to put on her wreath, and Mary 2 never picked up the horn again. After the discussion went bad, Mary 2 gave Mary 1 a slap as a transition, and came to the fruit of the fruit. , Colored Garden of Eden. They dance poselessly, like children, and Mary Two takes a bite of the fruit, and the third scene takes place in their apartment.
The beginning is worth thinking about. The arms race brought about by the division of the world into two camps, the alienated individuals under the production of the industrial society, the collective thought manipulated by Stalinist absolutism, the producers did not favor any doctrine, but stood in the human condition , staring at all around without giving any opinion. Between the personal and the grandiose repetition (in the form of unprepared transitions), even though Věra Chytilová sees it from a female perspective, we should be more concerned with what is common to all mankind. emotions, feminism is only one part of it. She has also repeatedly stated in interviews that she does not feel like a feminist, and that finding feminist messages in her films is the most superficial way to read it. The repeated rotation of the turbine is like a vacuum cleaner, sucking all the ego into it, making us every insignificant screw, and even life must be accompanied by a horn, which is also similar to today's 996. So what is this work for? We obviously can't know the answer until the tower falls, because everything is nothing to Mary (I don't care), and the crisis has no trace until the tower collapses. Finally, disconnected people become concrete people (to become worse and worse), and they suddenly have the power to indulge boldly (because of lust, we can’t do anything to steal fruit and think it’s a normal thing to do) ), but more naturally happy, and the world is full of color, even if it falls from the Garden of Eden to the apartment (the world). This is the embodiment of Mary's (women's) desire. What remains the same is that no one understands them, just as no one can understand each other. Back to the previous question, what is this work for? Mary One and Mary Two were not working, so they were looking for ways to get food.
Mary No. 2 frequently goes on dates with older men. She wears a silk scarf that Mary No. 1 picked for her to hide her lively nature, and pretends to be quiet and gentle to talk to the man. Then Mary No. 1 shows up and calls her Mary. No. 2's sister, who recklessly ordered, took this opportunity to eat and drink regardless of her image, and then sent the man to the train station together, and walked away for the next reincarnation. Their clothes are black and white. The mature-looking Mary No. 1 wears a wreath and wears a white dress. The young Mary No. 2 has a silk scarf and a black dress. and scarves throughout. In terms of clothing and appearance, Mary No. 1 and No. 2 Mary are obviously two sides of a man's impression, and the producers dislocated them and inverted them, which aggravated the absurdity of the film. As stories of relationships between men and women emerge, there is often a tendency to relate to the situation of women in a patriarchal society, but this also seems to be a stereotype, and precisely the symbolic label that Věra Chytilová scoffs at. The most superficial part of her film. She uses this as a weapon, mocking all explanations that watch her films and try to start from stereotypes. Although it hints at women's autonomous thoughts, the film proposes that women should leave the constraints of family and social roles and seek their own independent will that has been weakened in the patriarchal society, but Marys, as imagined female characters, do not have Adam in their Garden of Eden. , so there is no premise of being created as a man's rib, and therefore not attached to any man. Although he is greedy with men's money, it is only a worldly transaction - the embodiment of men's desires. Rather than dividing camps, Věra Chytilová labelled the impressions of both men and women to the extreme. Those stories were so real and so unreal, as if flowing words and slogans, and she only aimed at that Candidates who have the right to speak.
Mary One also went on a date. This time at a man's apartment that collects taxidermy butterflies. He repeatedly confessed to her that she took the butterfly specimen as a hold, and repeatedly got out of control, only asking if there was any food around her. Butterfly specimens and collages of pictures of beautiful women in newspapers all imply men's lust for women. Women should conform to what men desire, that is, pure appearance, virginity, obedience to men, beautiful body, etc. The high-pitched voice and childish demeanor are "expected" in men's lives because they are unaware of the deliberate actions of the two women. The forbidden fruits and flowers in the Garden of Eden not only represent gluttony, but also metaphorize women's pursuit of self-lust. Similarly, when Mary No. 2 is dating an old man, although the old man is restrained, he is also eating. The desires of men and women are essentially the same, eating men and women, and gluttony. Mary One hides three points with a butterfly specimen, which the man whispers to her to take away, which coincides with this. And the wonderful thing about this scene is the follow-up of the fuzzy ending. Mary 1 and 2 continue to play, listening to the love words of the man who called, burning the tapes and sausages hanging on the wall, one by one Cut out the grilled sausages, eggs (symbols of lust for men)—they have no desire for men. Maybe they love each other.
Later, Mary One and Mary Two were about to take a bath, "This is what I don't understand, why would someone say I love you, do you understand?" "Why would you say that instead of using eggs instead?", They smashed eggs, filled the bathtub with milk, pressed the man's paper cut from the newspaper into the milk, and Mary One looked at the sinking man's paper, "It's like, someone's gone." Do you mean dead?", while they take a bath and eat while philosophizing about life and death, existence and non-existence. "Yeah, take you as an example." "Me? He likes you more." "Now we sit here and imagine that it's not us. It's stupid." "Who told you it was us? Who told you, Do you really exist?" "You." "Yes, it's true." Then they went to the country, and the peasants didn't notice Mary One and Mary Two, and a group of workers on bicycles were also absent from them. Passing by intentionally, Mary One and Mary Two began to wonder if they had disappeared. But when they go to steal corn and make a mess of chicken feathers, they are convinced of their existence again. Back at the apartment, they rolled each other up in the quilt and cut each other with scissors, whispering, "I'm so glad we're home." "Die, die, die." "You're burning, I'm burning." , we're burning." "How do you feel?" "Don't treat me like that, you know I love you." "What's going to happen to us, what's going to happen to us, what's going to happen to us." "We lack Any proof." "Let's not go any further, shall we?", thus achieving another pop-flat climax of the film.
The seemingly non-existent discourse logic, disassembled limbs and pieces of paper, have a strong visual and verbal impact. Both desire and nothingness are clearly raised as propositions of the discussion. The values of "love (desire)" and "egg" conflict, the proof method of "existence" and "nothingness", and finally, wrap yourself in a quilt and tear each other with scissors. Why say I love you instead of using eggs instead? They just want to consume them. The falsehood, the true and the false, all mock the hypocrisy and abused free speech beneath the surface, as well as the world of lies. Use naive destructive desire to penetrate the logical discourse of reality, they are like war incarnate at the moment, tanks crush the proud humanism, atomic bombs sink those public morals, countless corpses walk and talk, only roses can sing , but the gorgeous rose is also a thorn. They break eggs for bathing, drink milk from the bathtub, beyond the range of delicious enjoyment or the limit of physiological needs (especially in the next scene), food becomes a symbol of the degenerate source, one of the seven deadly sins, and the The desire for power and speech is the manifestation of the emptiness of the human mind. In the secular Garden of Eden story, the forbidden fruit is the embodiment of lust, and love is the proof of existence, so they say affectionately and solemnly, "You know I love you", in contrast to the previous "Who told you this is us? Who told you, you Does it really exist?" "You." "Yes, it's true." It's hard not to guess that this is an excuse to fight against nothingness. Because of the indifference of the peasants and workers in front of them, they are in addition to Sprinkling ears of corn all over the ground, using the objective world to prove that outside of themselves, they can only fall in love with Mary of the same dimension (no one cares about them, loves them, and proves their existence), or maybe this is a pair of homosexuals who are not tolerated by the world , struggling in the world of patriarchal heterosexuality, in any case, "Let's not take more roads, okay?", has already heralded an end, and then they cut each other to pieces, tossing back and forth between existence and nothingness, Věra Chytilová used a lot of color filters, pops, montages, and a lot of Luc Godard, but she did dance with them to some extent. It is not only the self that is torn apart, but also everything, the country, the society, and these are also re-sewed. In the midst of the splendid splendor, we see nothing but nothingness. The two girls are like flowers of evil fed from the fruit of the Garden of Eden. In terms of actions and actions, they badly destroy all visible rules of the game, including themselves and the logic of the story, as well as the minds of the viewers.
Sure enough, they didn't go any further. Mary One and Mary Two rode the machine to a lavish hall with a large table of sumptuous food, perhaps an upcoming party of some high-level communist leadership. They taste different foods with their hands and keep changing seats in order to get good food. Gluttony is vividly reflected in this part. Not only that, they strip naked, splurge on food unconsciously, stomping on delicacies with high heels, kicking plates, Throwing the cake as a snowball, the mirror visual effect once presented a kaleidoscope shape. As they climb on the chandelier and swing, the two fall into the river, and the movie is followed by a subtitle like The Inquisitor: This is the only way for them to end, is there any way to save these vicious acts, the Marys answer us Almost drowning and we were calling for help because we were completely fallen and we didn't want to fall again, so the judge said, we'll give them a second chance, what's going to happen next. The Marys cleaned the table in clothes made of discarded newspapers. They go back to the restaurant. Put the broken pieces on the table, put the food back on the plate, and say we have to be kind, we have to be diligent, and then everything will be clean and beautiful. After cleaning up, they lay in the middle of the table, saying we were happy. Mary Two asked Mary One to repeat the phrase, and Mary One asked if we were pretending. Mary Two says we're not, then the chandelier falls on them, and the movie cuts to the war scene, where the movie statement appears: "For those whose spiritual life is in chaos."
This is the last thing the Marys who are bored, not understood by the world, go bad with the world do. They really did not restrain their desires, and enjoyed everything in the hall to the fullest, adhering to the principle of whoever finds out who controls who eats. Unlike those who abused their hegemony, they did not hide it, even destroyed it to the end, and entertained it to the end. Bulimia is regarded as one of the mental symptoms in modern society. Behind the frantic and uncontrolled eating of the Marys, it reflects the collapse of the spiritual world. Their behavior seems meaningless, even funny, but all kinds of excessive Behaviors reflect the emptiness within; in the face of the chaos of the real world, these absurdities are probably their sedatives to eliminate anxiety. Since the beginning of the movie, they have returned to the Garden of Eden several times, then sank into the world, and fell into the water after this scene. The Garden of Eden and the waters always cross each other. Starting from Věra Chytilova’s Catholic family background, we might as well regard the Garden of Eden as a hierarchy of hell or heaven, and understand the waters as the flood of the century. After experiencing the "guilt" of desire again and again, they were questioned by "God", so the Marys kept falling until the waters of nihilism (the bottom layer of morality in their hearts), and they began to beg for mercy and reflect. This also alludes to or even satirizes the image of the Czech nation. The "Pábitelé" style of words and deeds, this naive, even stupid fantasy seems to be a superb survival skill. It is such a survival attitude that allows the Czech nation to survive the bloody historical changes. So it seems difficult to decide which is good and which is bad, there are no eternal truths, only omnipresent paradoxes. They come back to clean in clothes spliced and wrapped in discarded newspapers, just like the cleaners Mary had met, and unlike before, they are now covered in labels, slogans, and the words of others, no longer bad for the freedom they swore to be. Women, their desire (desire) is only to work well, and then be happy. We can see that the messy scenes in the hall are gradually becoming clean and tidy, but the broken dishes still cannot be recovered, the food that fell on the ground can no longer be eaten, the dirty curtains are still dirty, and the homes damaged by the war are restored. If so, Věra Chytilová) The objective world constructed by material reflects people's post-war traumatized hearts still so empty, like a Dada experiment made with life, although the Marys did not drown on the other side of morality, the chandelier still hit They, who were above the social system at that time, were domesticated by secular norms, and will eventually be destroyed by secular norms. Do the Marys only represent women? Does it only represent an individual? I can't quite see it.
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