I also always remember that another extremely talented psychology teacher said uncharacteristically and seriously: In modern society, almost everyone is in a psychological sub-health state, it is only a matter of degree.
I imagine that this is that lunatics are profound, and we are only temporarily awake, or that one step forward is madness, and one step back is us who are respectful.
Such a statement is tantamount to the argument that "genius and lunatic are separated by a thin line."
And Hitchcock may be a person standing on this line.
Although Ingrid Bergman and Gregory Parker give this suspense movie a little bit of affection for Casablanca and Roman Holidays, by closely following the theme of psychology, Bergman should have been staring at Bergman’s pretty The blond curly hair and Parker's handsome and slightly sad eyes closed for a while because of some plot that violently hit his nerves.
The two heavy old posters of the year are both Parker and Bergman hugging each other tightly, but one is a man burying his head in a woman’s arms, venting his helplessness and fragility, reflecting suspense. The theme of harmony and psychology; the other is that they are sweetly dependent on each other, showing an unchanging great love. The background of white roses symbolizes warmth and the traces of parallel train tracks symbolize the weird psychological world. In the film, the architectural concept of "less is more" is also expressed in the psychology: the simpler and clearer, the more It is a hidden mystery, unpredictable.
This kind of unpredictability is suspense when it cannot be named truth.
In the early autumn of 1945, at the entrance of a neon theater in the United States, when the flames of war had just extinguished, and people could not wait to hold up golden champagne and overspend with foamy joy around the clock, women’s red lacquered high heels would temporarily stop. In front of these two posters, wrapped tightly in mink coats, looking at the actor and actress and the blooming white rose with a smile, while the men in dark coffee coats beside them frowned and stared at Hitchcock. His name and psychology and the suspenseful big headline, then took the cigar away from his mouth, threw it on the ground, and trampled it out with the polished leather toe cap. Then he spit out the last thick smoke, swept the women around him, and walked into the theater.
Freud's classic theories are implemented in this movie: subconsciousness, dream analysis, self-association and childhood shadows.
Hitchcock’s humor and his ability to create an atmosphere of horror are also vividly demonstrated in the film: people are happy to praise his shooting scene about dreams, dim lights, intertwined figures, and huge people. Eye curtains, various abstract and weird symbols...
Freud and Hitchcock were beyond ordinary thinking. At that time, I was afraid that they could only be described as "ghosts".
And what the two lunatic ghosts are exploring is also something that the world has in common, no matter how luxurious civilization we use to whitewash our unrecognizable nature. The naked nature of all human beings is exactly the same as that of Dr. Edward, like you and me.
It's like the prophetic words of Shakespeare when the curtain of the film was unveiled: the error does not come from our planet, but from ourselves.
We hear, see, and touch. We wake up and find that everything is in danger; we feel lonely and lonely, and the people around us become so strange; we forget and force ourselves to forget many things; we feel that there is someone behind us I want to be close to us and intimidate us, but sometimes I feel that I am the holder of universal values. The world is drunk and I am alone.
Shakespeare laughed at us and said that the mistake was our own.
We forgot this sentence in his sonnet.
Freud laughed at us and said that anyone with sound senses must know that he cannot keep secrets. If his lips were closed tightly, his fingertips would speak; even every pore on his body would betray him.
We treat this sentence as a god, and then regard it as a superstition in cognitive and postmodern thoughts.
Hitchcock laughed at us. He let us sit trembling in the dark, watching his films show our nervousness, and then we knew that we were really sick.
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