you have nothing to lose, and
now you are transparent and have nothing to hide.
what do you think?
what do you think?
The feeling of being alone,
not finding the way to home...
Bob Bylan ripped out a lyric in the opening line of his utterly break-with-the-crowd album Highway 61 Revisited. It was also from this album that Bob Dylan began to move into the deepest darkness, strangeness, and depth of rock music, into the complete loneliness of resisting mass public opinion, like a wandering ghost, no one can follow in his footsteps .
He once said something like this: "You believe you can change the world, and I know that no one can really change the world." Dylan faced being labelled a "rebel singer" by the public. Tenacity and stubbornness to retreat from the front line of the spokesperson, and will never look back for anyone. Even though the front is full of darkness and loneliness, moving forward and singing for yourself is an act that requires courage and confrontation with freedom and determination, coercion and coercion.
Opening with Dylan's lyrics, perhaps in Kubrick's "Eyes Open," finds some sort of feature that shares a departure from Dylan's rock-and-roll path.
Dylan's departure is a huge gap between the real world and public consumption;
while Kubrick's departure contained in "Eyes Open" lies in the huge gap that appears between the freedom expectations within life and the desire to survive.
If pleasure is not desired, or if you choose to give up the pleasure you experience in the process of love, then you need to sacrifice yourself. This is the eternal law in the marriage relationship, and this is also the core of "Eyes-Opening" using the power of internal accumulation to make the protagonist's depression and struggle collapse completely on the dimension of a line.
I'm thinking that one day, when lust and liberation become the moral imperatives in our society, or when total liberty and indulgence become the latest rules in Dylan's music, there may be two very different endings.
Refraction into Kubrick's inner expression will make Nicole no longer submit to self-sacrifice, and it will also make Tom more fearless and calm in the face of death threats.
However, no matter if you change one way to expect another ending, the four words "meaningless" always follow. Sacrifice in a marital relationship will never produce more happiness. People expect eternal definition in a marriage relationship, expecting something that will never change, such as loyalty. This is a self-hypnotic therapy.
In my concept, betrayal is not an act of social moral corruption, but the courage to continue to resist. What is truly constant in a relationship between two people is change itself. Because the mutual gaze between two people has become each other's powerism, when our self is lost, we begin to extravagantly seek self-identification in the other. This purpose is to parasitize each other and detect each other's fragility. the process of.
Still believing, or pretending to believe?
What is the real meaning? This is a topic that has been discussed throughout Eye Opener.
Nicole and Tom play a decent couple who are going to a dinner party. They have looks and affluence that others envy, making them a near-perfect pairing. But no matter what kind of perfect combination it is, it is a structure that is not unbreakable, or in other words, under their gorgeous appearance, they use some of the other's characteristics to hide their own lack. Nicole loves Tom greedily, Tom loves Nicole madly. But the love between them is different from the loyal love we understand. It can be said that it is a metaphysical and patterned love, based on sex, social circle, and desire.
Nicole starts off with an understatement, "You didn't even look at it", and then Tom just kisses her on the neck, "You've always been so beautiful". However, I always feel that there is some kind of contradiction that is far-fetched and tolerated in this homely dialogue. What is the real world hidden behind their marriage and love for each other? What's the special meaning?
Everyone is willing to believe in love, but Kubrick is unfortunately not a person who believes in love.
If our life is likened to an endless ocean, then the real meaning of love can only be regarded as the illusion of desire. So what happens when we realize this? Kubrick has paired Nicole and Tom ready to give us the answer. When they realize that they are objects of the formal symbolic meaning of each other's desires, they suddenly panic and even lose their way.
Of course, this proposition of finding the ultimate meaning was not accomplished overnight by Kubrick. After all, he is a rare narrator. Through drinking parties, death, conversations, third parties, prostitutes, and the great fear brought about by underground organizations and Nicole's dreams, etc., the structure of the story is broken and fragmented, and the answer to the proposition is given at the end of the movie. , the real meaning of marriage will not develop with a linear, inherent and inevitable law, nor will it gradually spread and unfold from a point of view or a story as the origin.
The real meaning of marriage will only appear by chance. At a certain moment when Nicole and Tom go to the supermarket, it seems that they can find the answer in public places and in the crowd when they face the current state of life. At this moment, The ultimate meaning of life is to sacrifice yourself.
All happiness in our eyes is actually an illusion, isn't it?
Otherwise, why envy the appearance of others, always feel that other people are happier than us? Nicole and Tom's performance in Eyes Wide Shut is one of the greatest fusions of real-life marital relationships and cinematic art. Marriage begins with desire and ends with desire.
Conversation
After attending a high society dinner that planned all the contradictions, the star couple started a core conversation in the hotel about the desires that arise in the marriage relationship and the huge gaps that appear between each other. Nicole confesses her ideological infidelity for the first time, she longs for sex with a soldier, and if it happens once, she can give up everything. And gave his own huge fantasy, burning lust like an evil fire.
"I am sure of you", when Tom said this line of dialogue to her, she couldn't help laughing at him for a minute, and then she confessed to the ideological derailment.
When Kubrick designed this bridge, what was the ultimate purpose? Of course, there are all kinds of debates and opinions in the film critic world. And in my opinion, this is the most obscure expression of feminism.
The highest loyalty to love is often women, isn't it?
And when Tom said that he believed in Nicole's absolute loyalty, he became a very "feminine" figure in this confrontational relationship, becoming innocent, stupid, and indulging in his own emotions. The most cowardly love is to treat oneself as an object and deliver it to the other party, and long for the other party to return the same report. Or it can be said that a moth-to-fire love relationship seems to be the most selfless dedication, but it is the most hypocritical and selfish party. What he hides behind "pure love" is an unfillable desire similar to a black hole. And this unfillable void, behind his hidden mask, was filled by self-deception.
From the moment Tom called a car to leave the hotel where he was talking, the sense of lack that he had gradually understood, which was challenged by Nicole's ridicule, gradually spread and escalated. The patient's neurotic confession is more of a constant catalyst, and his hidden beast-like desires begin to become the most obvious relationship conflict between Nicole and him.
What happened next to Tom's Alice in Wonderland-like experience was always the scene of Nicole having sex with what she said was an officer. Deep in his heart, he has been challenged by this fantasy, something that may be nothing but non-existent, he fell into love for Nicole, but became a kind of enslaved character, gradually feeling the two The sense of inequality in the relationship, perhaps this has also become his constant desire to enter into the fantasy caused by everything outside him, so that the imbalance in his inner subconscious can be relieved to a certain extent.
He longed to enter the most important contradiction in this confrontational relationship—desire, and he wanted to immerse himself in a fantasy erotic sense and experience that his desire evoked. Only in this way can he seem to be able to fill the void in his heart.
disappear in the name of love
In Kubrick's structure, what has to attract attention is the existence of the three abnormal love relationships in the movie, which are generated by Tom's unstoppable desire, as if they together constitute a huge mystery, And there is no associated logic between the three.
1. Between Tom and the neurotic patient - Marion, the woman kisses Tom frantically while saying that she loves him enough to give up everything, just for him to kiss back.
But is this a brave statement? Or, for our real life, is it true love? In order to get Tom's reward in a certain sense, the woman trembled and kissed it impulsive, completely forgetting that she was a newly married woman, completely forgetting that she was next to her father's body on the night when her father just died.
She began to cry, crying aloud, feeling that her feelings had been deprived of despair. Is the sentence "I love you" based on my own loneliness or on the basis of my desire for Tom? We have no way of knowing.
But we can see that this woman named Marion is obsessed with the phantom and symbolic objective feelings created by Tom's occupation, conversation, and appearance. This feeling is the most real core of desire, not a kind of love. It wasn't the love she wanted at all, even though she said that even though she would never see him, living near him would satisfy the burning of that love. But what seemed to be a flaming confession, after her new husband rang the doorbell, everything was interrupted immediately, like a comical back game.
The power of love is not the same as the power of desire. In the face of reality, desire is so vulnerable.
2. Tom's absurdly dangerous sexual relationship with Domino, a prostitute he met on the street, didn't happen.
But this pure and no emotional intersection between the two seems to be creating a relationship of mutual sacrifice - the pleasure of sacrificing for each other's unknown is the magic of a decadent lifestyle.
In a relationship, the act of sacrifice and giving always triumphs over freedom and unrestrainedness and becomes a morally elevated position, which is a special kind of paradox. When you realize that you are truly in love with someone, all ego collapses. Maybe Domino didn't remember that night as Tom expected, it was a normal night, and nothing happened, and this form of experience blank, like being in Tom's heart The deep desire was smeared with honey and then left him. Formal, this unusual blank space, left unexplored areas of pleasure in his lust. In the face of sex and the blank relationship between men and women, Tom absolutely lost his neutrality and became an out-and-out poor child. Here, I have to feel that his performance is so childish and ridiculous, and this unfamiliar way of performance just fits all the confusion and hesitancy of the male protagonist in the face of emotions. It's hard for me to imagine how he could go back to find Domino and have an absurd mutual attraction with her roommate when he's back in real life from his sleepwalking fantasy. Desire is like a terrifying parasite that grabs onto everyone in the movie, trying to screw up the story, screw up everything that's supposed to be on track, running in a rhythm.
3. In the context of the incredible sexual liberation that Tom enters, the cowardice and indifference shown are like a compromise with the social machine and the external environment. If all his experiences of being worshipped, confessed, seduced, etc. before he entered this virtual realm are regarded as a set of survival theory that he dominates himself, then what happens in this virtual realm is all It is a deprivation of his autonomy. Although he chooses to unconditionally obey the orders and persecution of all the monsters present, it seems that it is difficult to escape the end of a death journey.
His friend said an inadvertently seductive line when Tom asked: I've seen a bit of the world in my life, but never that scene, and so many women. This kind of temptation directly reaches the forbidden area that the moral law has always condemned in Tom's heart. It's like Pandora's box has been opened. All evil factors, lustful factors have a strong destructive power, moral and social The fortress that has accumulated many positive factors, like the foundation of the bottom, collapsed in an instant. There was no more reason to obey, so Tom used his friend's code to sneak into the room as if he had been injected with heroin.
Why did Kubrick arrange such an absurd and obscene space, as if preparing to solve all civilization in only one way - sex?
It's an unsolved mystery, perhaps for an obvious reason. After everyone loses their identities and faces, can all the laws and rules in society still be established?
This specially designed plot excludes all the elements of law, morality, shame, etc. that are in society, and replaces it with completely liberated thinking characteristics such as meaninglessness, full of unknowns, and sexual experience. Here, sex is a kind of symbolic borrowing, through sex, to reveal the sexual repression in the real society, through sex, to suggest and "non-existent sexual relationship". This is also an anarchist construction that Kubrick has always advocated.
Tom encounters danger in the progression of the story, his disguise is torn, his mask is taken off, and his truest appearance becomes the source of the most horrific contradiction. But in such an environment that seems to be insane in our conventional real society, how to reconstruct the value system of survival and construct our expectations and signs for the future? Of course it is love - the eternal proposition that never fades.
A mysterious woman appeared and rescued him.
Although in the later interpretation of the film, this is also an illusion. But this belongs to Kubrick's answer. In the face of the fear of the unknown and the threat of death, in a new and disorderly construction of a social system that regards freedom as the highest criterion, it is still more important to The supreme praise of love. Perhaps after realizing this absurd social structure, the real fear is not the frustration of coping with society, but the loss of everyone's identity and the space for pleasure brought by differences and the unknown.
There are two kinds of crying
at the same time, one is when Nicole is narrating her terrible dream, the other is when
Tom is hugging Nicole and telling his bizarre encounter.
These two different forms of crying have the same quality, that is, the host withdraws from the blank scene and deviates from the most real instinct deep in his own desires, or it can be said that in the face of the unknown, pleasure and fear Coexistence, and in these two protagonists, fear overcomes pleasure, so they choose to return to their own circles of life. Because that's the only behavior that will work.
When Nicole faced these problems, she chose avoidance and forbearance. This is a relatively safe and harmless approach. The biggest harm is nothing more than being bored at home. But everything Tom did afterwards was to intervene and investigate all the clues, so that the truth could be revealed. Although there were constant strangers appearing to give him more severe warnings in the middle, it was difficult to prevent him from Confused torment.
But are these interventions, interventions for change, effective?
The truth is, nothing can change what has happened in the past. This second half of the bridge is just his powerless counterattack against a grand plan. It's as funny and humorous as we are going against the government, against the political parties. How much weight can truth still have in this virtual society of the past? True and false, from the very beginning of his lust, was doomed, and even he himself was conceived by an anarchism of nothingness and nonexistence.
If Tom is smart and wise enough, please graft his own series of events into this scene, and he may be able to understand that this fictional society is full of all exaggerations and absurdities, and he has been designed from the very beginning. In the game part of the game, it is designed to ask for information - to use the password to enter the restricted area - to ask the hotel administrator again.
This common sense defiance is a huge mistake.
Tom's resistance is wrong at the beginning. He believes that the unknown of desire lies in the fallacy of truth. He believes that the unknown of freedom will always have the pleasure of temptation, but he ignores that truth or not, it is not right and wrong. no. Often obscenity, desolation, existentialism, mistakes are also part of the truth. Whether something is right or not is illegal, it doesn't matter enough.
So every time Tom felt that he was getting closer to the truth, the lie that was exposed pushed it out a little further from the truth. Including going to the clothing store to return the clothes, going to Domino's house and being told that she had changed to the HIV virus, going to the morgue to confirm a corpse, only to find that she was the woman who saved him, and then being punctuated by people, saying that she died from drug use, ruthless. Informed of the illusion.
Kubrick's narrative art, that every film can dissect a century of philosophical treatises, is not a false claim. At the end of the eye-opening, the master's handling is enough to make some domestic Confucian directors sigh and sigh.
At the end of the movie, Kubrick placed the two protagonists together in a public environment - a supermarket, and launched a dialogue about how the relationship between the two people will return after this night:
Tom : What do you think we should do?
Nicole: I think what should we do? My thoughts, I don't know. I think, maybe, we should be thankful that we survived those adventures, whether real or just a dream.
Tom: Are you sure it's just a dream?
Nicole: I'm sure? What I can be sure of is that the authenticity of one night is far from being able to be completely real at any time.
Tom: And a dream is not just a dream.
Nicole: The point is, we're sober, and I hope it stays that way.
Tom: Forever...
Nicole: Forever? Let's just stop using that word, shall we? It scares me. But, I really love you, and you know, there is something very important that we should do as soon as possible.
Tom: What is it?
Nicole: Make love.
After being completely suppressed and released overnight, we may be at a loss for a while, so how do we get back? How to regain the motivation of life, like the Jews who experienced war in "Schindler's List", how to rebuild their home hospital, how can we forget the shame after our imperfect state after the erosion of desire and entanglement , continue to survive?
Kubrick's answer is optimistic, performance solves part of the pain, can be made love, can get rid of the established symbolic meaning in daily life, which can help us avoid going back to historical traditions, back to the repeated backtracking of the past.
However, sex also has a shelf life, isn't it?
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