When I saw the puppet's head-up shot and the manipulator's up shot at the beginning, I guessed that this was a metaphor for God, after all, the hairstyle is too obvious. The puppet show at the beginning is echoed many times in the middle and at the end. This kind of progressive horror can be really chilling at times. The details of the film are also very rich, and they are intertwined with each other, not just where the paving is, but they are not related to each other. For example, the fact that Lotte has so many animals may imply that she is lonely or has a strong desire that cannot be satisfied. Maxine's image of chasing her own id desires without fear and worry is revealed in a few small gestures at the beginning, along with Craig's hesitant clumsiness, inferiority complex, and ambition.
Who are you when you're pretending to be someone else? Craig wants what he wants, but he doesn't dare to take the initiative to pursue it, or he doesn't have the strength to get it, so he can only use puppets to satisfy his desires - to become another person, to please Maxine and destroy him. yourself to get what you want. It's just that over time, he was bound by puppets. At that time, is he still the same Craig he used to be? If you lose the costume of the puppet, you will become nothing, so who is binding whom?
Or rather, what am I? I feel now that I am the sum of everything in the past. The actions that are self-born, given by others, inspired by the environment, the end result of all these actions, come together into me. So it can be said that there are countless mes and only one me. Maybe that's why Malkovich sees so much Malkovich when he enters his consciousness. One can say that without self, all thoughts are bound by the past, by experience, by family, by culture, by love, and by friends. But think about it from another angle, even so, everyone will form a unique self in different proportions.
The concept of inheritance in the film is also constantly metaphorical. In the passage that symbolizes the vagina, human culture is continuously passed on, from father to son, from generation to generation. The effect of the effect is as if those elders entered their own brains and made decisions for themselves, even after they died. From Melkovich's point of view, he's just a shell, and Craig is his strong sense of self, and it's hard for the elder's consciousness to get in until it's driven out. It is also said that a person's consciousness has basically been stereotyped after the age of 44, and it is difficult to change after that. Children, on the other hand, absorb everything they have received in childhood. Although there is no single strong sense of self, they are all silently expressed behind the scenes. That child, I am afraid, also received an inheritance from its two mothers more or less related to Craig. Maybe it will be expressed as Oedipus complex in the future. (Or Electra?)
Charlie Kaufman is a very talented screenwriter, and his scripts have a literati style that makes them fun to play with. At first glance, it seems so simple, but when you think about it, it is extremely terrifying, interlocking, and constantly metaphorical. This is probably the only two films I have seen after watching his thoughts.
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The way to live with the body is to live in peace with it. Thinking about it is nothing more than to let the superego be at peace with the id, let the elephant rider not flog the elephant, let the rationality subordinate to the emotion, and let one's own needs be satisfied without being overly suppressed. But, hehe. . .
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