In this intermediate state, the complex emotions of mother and child are stripped out, just like the middle layer of the atmosphere, the air is thin, the emotional temperature is getting lower and lower, hatred is mixed with love, and disgust is dependent on obedience. In this kind of relationship that leads to social and psychological tragedy, the biggest victim is often the weaker party, and most of the reasons are attributed to the influence and infringement of the terminally ill "mother's love" on children in early childhood.
So, in addition to all the good nature there is the destruction of nature. Praise the great mother like Gorky, and use "the poison of the tiger not to eat the child" as a metaphor for the heart of a son, but that's not all. There are mothers like African black eagles in this world. They can be completely indifferent to the weak young eagles that they do not want to feed, and watch them die slowly.
Read Sullivan's "Interpersonal Theory of Psychiatry" to gain a deeper understanding of split personality, depressive episodes, individual anxiety, how the defense function of the ego system fails, and the evil mother drives the emotional anxiety of infants and young children to pathological changes.
"Peacock Town" is a "scientific and educational" film implanted with all abnormal behaviors. The story uses absurd conflicts in the strange plot of the protagonist's self-repair to dissociate the mutant cells and normal blood that coexist in a mental patient's heart. But theoretically discussing psychotic symptoms is obviously not the focus of the play. Tracing back to the source, the main point of the story is all in the first minute of the opening. With the mother's ruthless threat: "Don't talk to anyone", and the helpless sobbing of the child, the invisible tragedy is restored. The film is to tell the audience that it is a vicious mother who has taken away the happiness and future of the child.
The film uses day and night coordinates to separate a house into two worlds and two souls. This idea is really good. The key lies in the psychiatric theory it relies on. John, who had been abused by his mother for a long time, met Emma, a woman who walked into him, on the day his mother died, and John's life opened a new page. During the day he was John, working nine to five, supporting the family; at night he was the glamorous Emma, doing laundry, cooking, and housework. A man lived a married life with two souls. Although absurd, it continued peacefully for a year. If not for a train derailment accident, this mysterious life would have continued.
At the beginning of the movie, the first face the audience saw was not John, but Emma. Just as John died at the end, Emma continued to live in a dark world. It was clear at a glance who was strong or weak, and whether there was redemption. This kind of ending is quite surprising, it is a different conception, which gives the story some aftertaste. In fact, everyone wants to live with dignity, and the cowardly and cowardly John also wants to live in control of his own destiny like a vicious mother and a strong Emma. After losing the battle again, it is easy to understand that the only way to get a new life is to switch genders.
For the director of this film, the way of handling details seems to be his forte. The candy box hidden under the wooden board, the neatly stored piles of cash in the safe, and the swing under the branches reflect John's simple and childish mentality. In terms of promoting the development of the plot, the sudden change from harmony to discord is the external force exerting pressure. Combined with the internal reaction force, a complete betrayal and internal and external interaction have not only tested the protagonist's acting skills, but also strengthened the conflict. Effect. The details that cannot be ignored are the constant breakfast, the bicycles that go around, the car hibernating in the garage, and the special time at 8:15 in the morning that means the role is changed. These are all abnormal signals, and the explanation is very delicate and profound.
In fact, as stated in the film introduction, "Peacock Town" should be a thriller. The reason why it did not meet the requirements and heights of imagination may lie in the subsequent development of the plot.
I thought that the lack of sternness was in the performance of Emma's character. Of course, in addition to being strong and scheming, Emma may have some compassion, which may be in line with some pathological characteristics. But to dramatize it, it could have been even crazier. From the note "Don't talk to anyone" left by Emma to John, it can be understood that Emma's soul comes from John's mother. In this case, there is no need to consider Emma's "sympathetic" image. Her gentle, open-minded approach to Maggie and Maggie's son Jack undercuts the plot's intimidating effect. The film humanely avoids two paths, neither blaming Maggie for John's death, and then taking Maggie's son Jack Jr., repeating a new tragedy; nor maintaining the original ending, in the middle. Playing a little dazzling game to scare the audience in the link has contributed to the fact that the film is simmering.
For Srian Murphy, who has handed over good transcripts such as "28 Days Shocked", "The Wind Blows the Rice Waves", "The Edge of Love", etc., acting is definitely not his problem, and his acting skills will not trouble him. , It seems that people are born to eat this bowl of rice. But from his challenge to the transvestite kitten in "Breakfast in Proto", to wearing a charming and moving wig in "Peacock Town" again, people can't help but worry a little. Such a role is enough once, and an exceptionally good actor is easily mistaken. Falling into the trap of "indistinguishable from human play". At the end of the day, I still have to admit that Sri An acted very well.
Ellen Page didn't let me down either. From "Juno" to "The Pulley Girl", to the fucking kid in "Peacock Town", the little girl seems to be able to control the vicissitudes of life, but there is not much to do. It's a pity for Zhang Yang's role, but of course you can't blame her.
As for the other big names Susan Sarandon, Josh Lucas, and Bill Pullman, as guests of John and Emma's party, they all acted as bystanders in front of imaginable facts. There is a branch outside the festival, and no one is suspicious of the weird John and Emma. This can also prove that "Jiang is still old and hot". Listening to the director's words, everything goes according to the script, and it should be considered that the characters have a thorough understanding, and there is no illusion of ambiguity to the audience. what.
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