Original: There are few waste customers
After reading "Swiss Army Knife Man", I suddenly thought of an essay that Lu Xun had written in 1923 called "Nala Gone After the Look", which was a further explanation of the final choice of the heroine of Ibsen's play "Doll's House", in which Lu Xun finally came to the conclusion that Nala either fell or came back.
This film seems to be an American funny film of the and type, but the depth of the core touches on the sense of existence in modern society, which is also the symbol of contemporary film to distinguish classical films. Many retro people are very skeptical about the value of contemporary films, after all, in the face of Hollywood classical narratives and European art films, it seems that the current film production has become lackluster, in addition to the accumulation of capital to copy a large number of "super comic" blockbusters, few films can be higher than those classic masterpieces in terms of skill and intention, but we ignore the attention of contemporary films to the current "people", especially the existentialism and postmodernism prevails, many masterpieces are "small and beautiful" breakthroughs, not "big and complete" delusions.
The story of "Swiss Army Knife Man" can be said to be a re-exploration of the "lonely" theme film in recent years, and because the form of this film is novel and the production is excellent, the concept of "loneliness" is transformed into the hearts of the viewers, which is its success.
Whether it is the doubt about "material" and the yearning for spiritual freedom in "Wilderness Survival"; or the love for traditional people under the intelligent machinery in "She" and "Mechanical Ji"; or the "individual loneliness" of contemporary writers who borrow the inner emptiness of contemporary writers in "The End of Travel" to delay the "individual loneliness" of people, they all give people a "sad" touch in the general direction. The uniqueness of "Swiss Army Knife Man" is that this time it began to peel away the "loneliness" and "failure" from the personal and psychological level, and healed itself.
Hank in the film, as the dominant person, has the identity of the "superego" in Freud's spiritual analysis, while the "Swiss Army Knife Man" - Manning is synonymous with the "original self". The development of the whole film is the guidance of the "superego" to the "original self" and the enlightenment of the "original self" to the "superego".
In the film, Manning, played by Radcliffe, has always shown primitive desires, whether it is talking to Hank about the actual situation of masturbation, or the erection of genitals when seeing the magazine sexy girl photo, or communicating with Hank's disguised "Sarah", he also directly hopes to satisfy his desires through sexual intercourse. Hank, played by Paul Dano, has always acted as Manning's "ethics teacher", influencing Manning's behavior and speech, and this dominant and passive behavioral relationship is undoubtedly another endorsement of Freud psychology.
What we can see is that in this journey of spiritual redemption, Hank solves three problems, one is the guilt of his mother, one is the indifference to his father, and the last is the relief of the goddess "Sarah", and these three points are completed with the help of Manning.
Hank as the "superego", that is, the rational human being in modern society, can not release themselves to the three people who care most about themselves, because of the rules of society, just like Hank, each of us lives in the cage of the shackles of "rules", enjoying the contemporary stable "prison disaster", although unwilling, but also "safe and self-contained", unwilling to do "out of line" things, in order to show this thinking trap, using "public fart" as the bait of the whole trap, Manning tries to break through this, So when hank discusses "public farts" at the end of the film, he has extended to the level of "hiding" and "breaking through the hidden".
I often put the evaluation of a movie on two levels to consider, one is the content, one is the form, the depth of the content needs more "heart eyes" and insight of the viewers, after all, from this movie, only see that "falling in love with the dead body and being a guy partner is also a daily life" is not a minority, Redcliffe The level of "Harry Potter" playing the dead body should be the biggest focus of this movie as the early publicity.
But the formal "beauty" is often seen by people at a glance, which needs no debate, just like you can say that you can't understand the "Yangtze River Map", but if you say that the "Yangtze River Map" is ugly, it can only prove that your aesthetic perception is worse than others.
Such is the case with "Swiss Army Knife Man", the freshness and brilliance of the picture lies in the fact that the film uses a large number of upgraded shots, so that some of the comedy scenes of the film are much colored by romantic slow motion, and the picture of the film is full of magic; and on the soundtrack, the film invites the two creators of the Manchester Orchestra to perform a complete vocal performance, and the a cappella vocal chorus makes the film fit the personalities of the two male protagonists in the film through polyphonic soundtrack, Hank and Manning.
Let's think about the conclusion about Nala at the beginning of this article: "Fall or go back", I believe that many people should understand what I mean at this time, when Hank returns to the society that makes him feel lonely and tormented, he faces a lot of doubts and ridicule, not only his father, but also the goddess Sarah's, but he finally chose to be relieved, chose to open the fart, and it is because of Hank's choice that Manning is resurrected again, driving his "fart boat" in the eyes of the world. Does the film resolve Hank's contradictions? Maybe not, but the last scene may have made many real-life "autistic people" find a hint of good news.