2012/12/13

Kent A. Linc 影評《聖殤 Pieta》刻烙在閹割苦路上的血紅聖痕

《聖殤》藉由「高利貸暴力討債」的議題,探討韓國某部分中下階層的金錢價值觀,但導演骨子裡述說的故事,實為一段歹惡之徒對於極度渴望母愛的威權試煉旅程。



紅色,是導演鑲嵌在《聖殤》鏡頭裡的敘事符號。片首,多次特寫浴室地上的內臟雞血,之後主人翁絞斷欠債者手臂時流淌至地面的血攤,道出其心狠手辣的內在特質。當母親有如幽靈般出現在主人翁面前,她那蒼白面容上的紅唇與大衣底下的紅色裙擺,暗示這角色一出場的強烈意圖。主人翁欲以姦辱來試探母親時,鋪在床邊的紅色地毯,和母親望向窗外夜景裡的紅色十字架,強化她走在復仇之路上的堅定不移。母親針織的紅白毛衣和最後貨車拖行千里的鮮紅血跡,代表主人翁贖罪旅途上的真摯情感。

在希區考克大師的電影裡,主角永遠擺脫不了「母親」實質或抽象的存在性,每一段故事中,主角只能宿命一般地踏上屬於自己的伊底帕斯旅程。

《聖殤》裡的主人翁李康道,冷血殘暴,在被害人面前總是以「死神」形象現身,殊不知其實他深受「閹割恐懼」的威脅。那把利刃多次穿刺在標靶裸女圖上(憎恨女性?印證女工自願獻身給李康道,但他完全不領情,是因片頭出門前已自瀆過?還是對女人不感興趣?),意味著這把利刀如同他的陽具,能夠宰殺/淫威於任何次等動物,使其臣服於自己。每每這些行徑彷彿要自我催眠,尚有不被閹割的至上男權。

正當自稱母親的張美萱替他捉回失手的母雞時,她以「掠食動物交付被捕獵物給掌權者」的姿態,贏得第一次的信任。由於「母親」對於具有閹割焦慮的李康道來說,是高過自己威權的象徵,因此多次拒絕接受,他想用門夾斷母親那隻有如入侵地盤「干涉威權」的手,賞母親耳光使她威性掃地。而張美萱以「歸還刺刀」的行為,表明了「暫時交出象徵陽具的主導權」以獲得李康道的再次信任。

張美萱送上一條活鰻魚,是李康道踏上贖罪之途的起始,也是內在沙文主義退讓的第一步,他放棄「閹割」這條有如巨大陽具的次等動物,甚至延續其生命。李康道沒有宰殺作為抵押債款的兔子(溫馴?gay?),這是他第二波人性上的轉變。張美萱在電話一端哼唱搖籃曲,軟化了酒醉的李康道內心剛硬的陽具,以至於本想姦辱母親來證明自己威性地位仍然存在(卻也似乎渴望回歸母體裡),最終徒勞(因酒後陽痿?不喜女色?閹割成功?認同母親?)。

張美萱隔天一早,將李康道賦予鰻魚生命的巨大陽具閹割,象徵已完全獲得主導地位,李康道徹底交出自己的陽具威權給母親,他不捨地看向掏空的水族箱(最後的陽具依戀;第三波的人性轉變)。當李康道找上老婆懷有身孕的年輕欠債者時,欠債者彈著吉他哼著曲調,是《聖殤》電影首次的音樂響起,也是李康道性格上真正轉變的第一道歌頌。

早餐時,李康道將插在母親頭頂位置的牆上尖刀取下,陽具意象不斷在母親面前一次次萎陷。李康道出門前在門口凝視母親的身影代表他開始對母親產生了愛戀;下樓後站在巷弄間向上回望母親,李康道這時的水平視線從一開始的「往下鄙視(look down)」轉為「仰望/尊敬(look up)」的眼神,攝影機的架設位置(掌控權)也由原先李康道輕蔑眾生的觀看立場調換成母親站在窗前向下俯看他的視角;李康道買了條死魚暗示他已經不再噬血殺生;標靶上的母親照片印證母親在家中的主權地位;母親替熟睡的李康道手淫,她看著自己沾滿精液的手,意指慣於武裝自己的李康道終究得在母親面前徹底繳械,陽具威權蕩然無存。

母子二人在外用餐,相互餵食;李康道替母親動粗;殘疾歹徒將刀(陽具)架在母親頸上,母親心急用嘴緊咬歹徒握著菜刀的手(被迫口交?)李康道驚見敬愛的母親深受威脅,自己奉上陽具利刀為母親解圍;母親縫製毛衣,兩根針織棒好似尖銳武器(陽具?),在李康道面前來來去去,李康道腦海裡想的卻是生日禮物;兩人望著蛋糕同唱生日歌;李康道躲進母親懷裡共眠(卻被賞耳光),處處擺明李康道一步步「退化為男孩」(一幕「時鐘倒掛」的鏡頭,暗藏時光倒流的意象?)。母親要求李康道在河邊種植松樹,又是另一巨大的陽具意象,倒退為男孩的李康道不但照辦,還天天澆水養活它,實為母親種下了往後對自己造成極大威脅的另一位男性/兒子象徵

《聖殤》,如同希區考克《驚魂記》的麥加芬母題,引發一連串敘事推展的癥結動機並非世俗金錢,而是那帶有閹割威脅意象的「母親」。李康道打從認母到尋母的人性淬煉過程,實際上是走了一遭他生命中的伊底帕斯苦路。最終,母親站在廢墟高樓上,李康道成了「母親威權」的狂熱膜拜者,不僅奪回象徵認同兒子身分的毛衣,甚至走向請求母親寬恕的贖罪盡頭

「我做錯了什麼?」-《聖殤》


Kent A. Linc 影評《寒戰 Cold War》非常方法用在哪?

《寒戰》在電影技術層面擁有卓越不凡的表現,例如多次採用空拍取景的鏡頭調度、速度飛快的切換剪接、生動搶戲的電影音樂等,開創出與好萊塢齊驅的銀幕架式。


片首,先以「電腦系統輸入警界人馬確認身分」的方式,建立觀眾對於人物之間的基本概念,再以「轎車高速衝撞而駕駛人拒酒測遭逮捕」與「香港市區在颱風夜裡驚受炸彈攻擊」的兩起案件平行剪輯來交代故事動機,俐落交錯又短暫的開場節奏合理化了《寒戰》從頭至尾警方高度重視香港犯罪率的迫切性。接著,電影重心轉向兩大鷹派人物的互動關係。

由於行動組李sir激進跋扈的辦事風格,引起管理組劉sir的不以為然,因此雙方劍拔弩張的時刻,亦是本片端出兩大影帝飆戲的主菜賣點,是兩方首次也是唯一正面交鋒、言語衝突的情節,利用恰似「歌劇式對位唱法」展現兩人互不相讓的對峙關係,但是,這場眾所期待的衝撞氣氛似乎不夠緊繃拔高,甚至顯得詼諧逗趣。

郭富城被雕塑為一名正氣凜然的高層警官,典型的正派英挺角色,就連交付贖金的驚險動作戲碼,服裝髮型整齊依舊;梁家輝的角色動機不甚鮮明,看似老奸巨猾的人物性格與暴躁多話的台詞表現也不太相符,令觀眾觀影時對他的形象擺盪不定,也因此弱化了主角之間的對比張力。這一點嚴重影響觀眾對於「醫院裡梁家輝對郭富城是否貓哭耗子」以及「末尾梁家輝在總部外激勵郭富城的真誠性」等兩者間擦撞磨合後的單薄情誼產生了不確定感。而兩人分道揚鑣的畫面,鏡頭有意迴避梁家輝離去後的正/背面身影,導演並不打算給予觀眾任何對於梁家輝這角色有無後續計謀(續集)的可能線索

電影多次提及這起綁架警察的恐怖行動勢必造成香港市民的安危,故不斷提高戒備層級,意圖拉抬這起案件在劇本上的艱巨層次,但不知導演是否只想透過「人物對白」讓觀眾自己「揣摩想像」綁架案的棘手程度,因為電影絲毫沒有一次表現出造成香港市民恐慌的迫切時刻,頂多一開頭颱風夜的市區恐怖攻擊、幾場相當短暫虛驚的炸彈拆除畫面、以及劉德華的澄清記者會,至於視覺重頭戲的摩天大樓煙花爆炸場景壓根擺明香港似乎只是一座無人荒島,看不見強烈波及危害香港市民安全的橋段,除了贖回人質,無從理解警方高層極度緊張慌亂的原因。

此外,《寒戰》導演似乎不願多加著墨梁家輝的父子關係(父子戲在銀幕上刻意缺席暗示兩人之間的情感疏離?)導致片尾揭示父子間價值認知有差距的關鍵謎底疲軟無力,也因而造就觀眾對於彭于晏結尾突兀且過分賣力的表演斷層稍有錯覺。

電影後半,利用「郭富城遭受朋友背叛,爾後沮喪回家吃麵」,帶出看似可有可無的家庭情節,而,最終字卡之後的故事,方才揭開前面這段「家庭主題」的根本用意。《寒戰》從頭至尾飛快的運鏡剪輯,加上劇情高度牽扯香港警界部門的制度運作,產生如此過癮的節奏特性,但是,片尾字卡之後的劇情,彷彿替換了另一位電影創作者,無倫對白剪接明顯拖泥帶水,不甘不脆,如此冗贅懸念作結,觀眾興致盡失。《寒戰》這般續狗尾的片段讓人合理懷疑,莫非,這段是導演陸劍青和梁樂民電影完成之後的「補拍鏡頭」?若真是補拍,那麼本片為了交代「家人」成為郭富城條件交換的把柄,勢必電影前頭「郭富城回家吃麵、陪妻女」的伏筆橋段也是導演在完成電影之後所安插的「追加情節」,不然,郭富城在轎車裡昏睡時驚恐喊出他朋友的名字後,「神情失落疲憊,搭配漸漸淡出的畫面(代表一段劇幕的結束)」,理論上鏡頭不該再切換到「回家後陪伴妻女,神采奕奕,俏皮吃麵」的剪輯斷層。而這點也更加讓人確定,梁家輝離去時,鏡頭並不想交代這個角色的後續發展可能性,因為導演拍攝當下根本還沒有續集的計畫。

而針對「導演補拍結尾」的臆測理由是,製片(或金主?)考量,倘若《寒戰》票房出奇,就不必搞得像《無間道II》一樣,為了延續電影名氣的壽命,但又不知如何銜接首集故事,產生只好先拍前傳的局面。假使,上述推論並非屬實,那真就無從替這些多添蛇足的鏡頭做適切解釋了。

「所有戰爭,都是非必要戰爭。」-《寒戰》

 

Kent A. Linc 影評《消失的子彈 The Bullet Vanishes》消失的張力與節奏

一部精采的懸疑推理劇仰仗的是嚴密的推理與節奏。絕倫與否,不外乎謎底揭示一段邏輯上的自圓其說,最後再給觀者帶來認知上的因果取代;而劇情的節奏,取決於剪接的功夫。如果故事兩者皆無,至少推理負責推理的主人翁得要討個觀眾緣。

《消失的》開場,鏡頭從眾人做工的場面向天拉寬視野,鳥瞰五十兵工廠的遠景,由此可見電影迫不及待想說好一出故事的不凡野心。片頭廠內工人製造現在的階段過程,圍著如此日常的機械程序,若效法張藝謀前輩的途中,電影的每一場作息儀式之後,必將遭遇一場災難與破壞。

由「丁老闆在工廠內動用私刑,女工擎天震地的冤死事件」作為故事起頭,到底是有模有樣架式的情節鋪張,因為劉青雲出場的角色定位,立即使得電影開始呈現穩定當性不足的徵兆。導演深知謝霆鋒無法挑起靜態動作的重任,動作因此戲碼大抵由他承擔(幾乎快淪為側克)然而,此時劉青雲與謝霆鋒首次相會時,視力缺乏深刻的相互爭鋒,抑或試探彼此的外交的摩擦情節,雙方之間令人分不清就理的謙讓配合與唐突默契,劇中沒有著墨相對的對戲張力,這一點缺失嚴重影響到結局時劉青雲與謝霆鋒也無從發揮在情感衝突上的天人交戰。

再者,本片的剪接引發這樁推理劇的懸念性蕩然無存。剪接技巧直接影響電影的節奏節奏。當劉青雲與謝霆鋒一見面就無來由地擺成友好拍檔,搭配多次令人哭笑不得的視覺鏡頭大亮點,電影顯然決定喜劇基調時,故事鋪陳、發展、轉折,樣樣直截了當地坦率、急迫催逼,剪接不給予觀眾思考方案情、玩味邏輯的留白空間,故事筆直地衝得完美地繼續抑或有些人下一結局必然揭開如此套俗的逆轉變化,但又因此氣憤編劇何不花點功夫深度處理人物的刻劃。唯獨,劉青雲與女囚若有似無卻鴛鴦蝴蝶的情愫對話,以及謝霆鋒與女算命師詩情畫意又逆光攝影的柔美親熱,剪接這裡完全放慢動作,但這兩段感情戲卻也因此讓劇情發展了蓮花無情的陷入困境……

或許導編仿效蓋瑞奇《福爾摩斯》的樞機風格、服裝造型、復古色調、幢幢詭影情節、爆破調度、甚至筆記本戲碼以及好萊塢西部片的單挑對決,但是,既然片首利用鳥瞰鏡頭透視那股不用工廠的「視」覺氣勢”,其埋藏的伏筆必然是,影片尾部在此來上一段轟烈烈烈的大肆破壞,這樣龐大規格的可預期場景,導演不僅僅讓主角們在“封閉的閉城”的工廠走道上(非常)慢動作地倉皇奔逃的方式表現(過程充滿了幽默…… ),而爆破畫面的視效技術不足,卻用長達半分鐘的慢鏡頭呈現,豈不自曝其短?戲院不由自主地嘻嘻笑笑,簡直已經搞得搞得搞不清楚這是否為導演羅志良最初的預期效果……更別提電影莫名又不知所云的「最終鏡頭」,以「黃花田裡的火車大遠景」作結,這算什麼? !導演你到底想要表達什麼?是前面用剩餘的過場鏡頭捨不得丟嗎?還是發展續集的前期畫面?

最後,必須讚許《消失的子彈》造型團隊的髮型定型液,無論劉青雲和謝霆鋒在戲中如何追趕跑跳、左右翻滾打轉、撕毀強烈爆炸風暴的威力(甚至整個人已經陷入火球裡…… ),那頭靚發依然無缺、服服貼,這也難怪《馬怪》第49名馬獎的最佳造型!

「沒有最完美的犯人,只有變壞了的好人。」《消失的子彈》(2012 年)

 

Kent A. Linc 影評《007空降危機 Skyfall》孤兒探員之母M夫人

007電影等了50年,「M夫人」在《空降危機》裡,終於有望升格為歷任最偉大的「龐德女郎」! 編導大幅度為M夫人提升到MI6(探員們)的國母地位,甚至陰錯陽差賦予她一個不再是冰冷代號M的諧音名字Emma,使鐵面女上司的形象多添一份人性溫情。

一向處於007對立面的M夫人,這回兩人在鏡頭前難得站在同一線上,面對家鄉(Skyfall) 回顧過往,間接成了龐德對於已故父母的親情慰藉(《量子危機 Quantum of Solace》龐德與卡蜜兒在火坑中相擁,則是當初《皇家夜總會》龐德與摯愛薇絲朋在蓮蓬頭下相擁的慰藉)。

片首,以「類《不可能的任務》臥底名單外洩」為麥加芬母題展開劇情,但反派西法的犯案動機實為M夫人(M for Motive/MacGuffin)。在孤兒探員們心中扮演起嚴母角色(M for Mother),正如西法所謂"Mommy was very bad!" M夫人更被視為「希區考克向來塑造母親是罪犯心中不可抹去的典型陰影」的象徵(本片也大量沿用希區考克的鏡子戲法),導致反派西法深具戀母情結(gay?)/弒母情結(M for Matricide?)

龐德在復職前的心理測試,當鑑測官問他:「M讓你想到什麼?」,龐德立即回答:「Bitch(母狗)」呼應了爾後新任的Moneypenny幫龐德剃鬍時說他是"Old dog. New tricks." (母狗的老小孩)印證了無論MI6總部如何瓦解崩壞, M夫人辦公桌上那尊醜陋的老狗瓷器都將永遠留存, 甚至成為轉交給龐德的遺物(任務傳承?不死神話?)當鑑測官再問:「Bird讓你想到什麼?」龐德回答:「Sky」過去《誰與爭鋒》曾經透露James Bond的姓名源自一名鳥類學家, 而「所有00代號的探員們」似乎可被解讀為「一群童年受創、幼無雙親的鳥兒」, 而「鳥」令龐德聯想到「天空」,暗示著這片天空就是M夫人所領軍的MI6總部,亦是每位特務的窩巢老家(因此片首逍遙在外的龐德仍意圖歸隊回巢)。 也因為這窩鳥巢由M夫人代表當家,故英文片名《Skyfall》意味著掌管MI6這面「天空(sky)」的M夫人,正面臨殞落(fall)的危機

《空降危機》向過去龐德系列《最高機密》("Her eyes only!")、《黃金眼》(新任軍需官Q提到的爆炸筆 & 貝恩妮絲瑪羅/芬姬詹森的賭場冷豔造型)、《明日帝國》(片頭矮房屋頂上的機車highway追逐戲)、《縱橫天下》(MI6總部被炸)、《誰與爭鋒》(鳥的意象)致意,以及有著與《不可能的任務》(臥底資密硬碟外洩 & 高速列車頂上的打鬥與穿越隧道的戲碼)、《不可能的任務3》(上海摩天大樓取景 & 特務團隊合作)、《不可能的任務4》(澳門賭場橋段 & 土耳其伊斯坦堡/印度孟買的異國曲風)高度的雷同性。導演山姆曼德斯更不諱言《黑暗騎士》三部曲對於《空降危機》的深層影響。鏡頭裡處處隱藏《黑暗騎士》的印記,不但作曲家湯瑪斯紐曼借用(?)漢斯季默在《黑暗騎士》急促拉弦搭配電子節奏的相同旋律(原聲帶#7. Jellyfish & #26. She’s Mine),反派西法被囚禁時「類小丑」的詭譎鏡位(其實皆出自於《沉默的羔羊》 ;西法描述老鼠相殘時,發出"slurp slurp" 亦仿自漢尼拔萊克特)以及火海前的逆光剪影,甚至M夫人化身為「類管家阿福/警長高登」的幕後闡述者,利用畫音同步平行法,將龐德營救過程的聲音抽離,保留M夫人朗誦英國詩人丁尼生《尤里西斯》的念白,將龐德(《明日帝國》曾喻007為白色騎士White Knight)拉抬至「類蝙蝠俠」的悲劇刻劃,因此片末(Moneypenny所謂)龐德難得" 登上總部天台,俯視倫敦天際,內心拯救市民的英雄使命油然而生。

《空降危機》隱含豐富令人玩味的次文本巧思,雖注入了眾多新血(新任的可愛Q、新任的黑人Moneypenny以及新任M),然歡慶龐德50周年的《空降危機》,實際上所要紀念的卻是這位元老級的嚴母角色!正如艾黛兒同名主題曲唱到"For this is the end…"
 
“There’s a storm coming!" — The Dark Knight Rises(2012)

“A storm is coming." – Skyfall(2012)

“It hurt my pride. I had bad shots." — M in Skyfall (2012)

2010/6/20

Journal

In The Cask of Amontillado, Allan Poe creates a character, Mostresor, using the narrator’s first-person point of view to shape the whole thriller. This is a story happening in a gloomy and clammy vault. The narrator designs a perfect and delicate murder with using the weakness of his friend, Fortunato, to revenge him. We could only enter the narrator’s psychological world, following his trick step by step and being trapped.
It began in a carnival season, people wearing amusing dresses and masks. However, beneath them, something evil has been planned. Fortunatos’ characteristic is shaped by the motely, innocent and straightforward. Such dress style is contrary to vindictive mind of Montresor’s own. The hilarious carnival season is opposite to the damp and eerie vault. There is and excellent point saying that the reader can interpret the coats of arms (human foot crushing serpent whose fangs are in heel) in different ways. He and his noble family are like the foot crushing a serpent that has bitten them, or on the other hand is he and family are actually like the serpent. Even though Allan Poe uses the narrator’s viewpoint to describe and judge the scenes he sees, in fact Allan Poe indicates the Montresor’s twisted mental, moral and emotional character in an indirect manner by his narration. It is clever that the writer actually stands behind the narrater’s words to judge the narrator secretly.
Besides, what makes me impressive is that even if we read Montresor’s mental world with his own point of view and perhaps the scenes we see cannot be trusted, we can still hear a series of sound effects vividly. There are only the sound effects in The Cask of Amontillado making readers believe it is objective from reality. I think in Allan Poe’s works, he is fond of murdering people by burying people. For instance, in The Black Cat, the narrator buries his wife’s body and one of black cats which is alive. Obviously, he really enjoyed it.

Journal

When I read the author’s name, Amy Tan, in the bookstore, I felt so familiar but I could not remember where I had heard about this name. After reading the short biography of her before the story Two Kinds, I finally recalled the title, the “Joy Luck Club.” I was surprised that the movie is based on Two Kinds. Therefore, I could hardly wait for reading it.
The narrator, in the first line of the first paragraph, directly points out the American dream in her mother’s mind, like most of people’s in the world. Besides, she quotes what her mother said to her in Pidgin English. We can determine that the narrator actually is influenced by her mother all the time. She could not banish her mother’s sayings from her thoughts; thus, she was almost controlled by her mother in the childhood. Not only manners and behaviors, but her own ideas were conducted as well. However, the thought she, of course, could do her best, she just did not want to be dominated by parents. The more her mother pushed her, the more she refused. Perhaps the narrator is a prodigy, and yet her mother always used the wrong way to demand her. We can perceive it from the narration in the story that her mother was so offensive, sudden, overbearing to make the narrator learn the good things. It is pathetic that even though these demands, without a doubt, were good for her, because of such rude way, her mother made them extremely unworthy; moreover, she made those good intentions become a serious malice between them. I think the problem is attributed to the narrator’s mother. First of all, it is quite obvious that her mother did not just want her to be what she should be innately; on the contrary, her mother wanted her to be what her mother had wanted to be when young but in vain. We always think what our parents look forward to is make their children become their own dreams which did never come true when they were young. So we usually feel we live in our parents’ dreams, or concretely, under their shadows. They never ask if we would like to be like this, and they just create, form, shape a blueprint of dream to demand us to accept it, follow it, fulfill it. It is interesting that perhaps our grandparents wanted them to make the dream come true and they refused it when young, but now they feel regretful so that they ask us to atone. Or perhaps our parents had wanted to do something which our grandparents didn’t allow, so that their dream could not come true. And now they demand us to help them to complete their dreams and refuse what we want to do. Both conditions are endless vicious circles from generation to generation. If people are always selfish to their parents and children, we will never find a good way to get along well with each other. There will be hostility and unforgiveness between parents and children. After our parents dying, some day we finally realize it is just a misunderstanding and we will hate ourselves, feel remorse, but it will be too late to compensate such poor relationship. We always complain that nobody understands us, including our own parents, but do we really understand ourselves? Or probably we just want to escape the pressure from them. We barely even know what we will do in the future, how it is important to learn some skills in our childhood. In fact, the most significant thing is that parents should know how to make their kids interested in learning skills. They have to use the clever method to communicate with kids to make them understand the meanings when training them instead of using the tough tone of voice or imposing them.
The narrator describes the relationship between her mother and her with first-person point of view, so that we can spy on the world in her mind. She uses the humorous tone to describe such relationship in the first half of story. We can see she is naughty, childish, determined and rebellious. The narrator takes everything as if she is reading fairy tales. But after she finds her mother gives up the hope when the conflict happens, she gets so startled and sensitive. The fact is that we keep escaping the pressure that we know it is worthy, and after shaking off the stress, we will suddenly feel empty, guilty and no one cares about us. We finally realize we are given up, feeling awful. I think the story is full of dualities, such as American culture and Chinese spirit, the mother and the daughter, the demonstration and rebellion, love and indifference, feelings and behaviors and so forth. Especially, when I read the part of the mirror scene, I believe the narrator wants to present the contrary between the surface and her mind. She perhaps doesn’t really want to rebel in her mind, but what she does is very extreme. She has a conflict, which is the dilemma between piety and resistance, in her mind. Nevertheless, after growing up, she finally realizes that the two sides of opposition can be in harmony as “Pleading Child” and “Perfectly Contented,” which are two halves of the same music she play when young and innocent.

Journal

This week I read a short novel called The Story of an Hour. The narrator reveals that Mrs. Mallard, the leading character in it, was afflicted with a heart trouble, so that the narrator has already hinted the orientation of this story cautiously. In the first paragraph, the narrator pointed out the fact of Mr. Mallard’s death. And then in the second paragraph, the narrator introduces the other main characters, Josephine and Richards, to make their identities and the reasons why they come on stage clear. After these two paragraphs, the narrator concentrates only upon Louise Mallard deliberately.
The narrator describes that Mrs. Mallard did not hear the story as many women have heard the same. On the contrary, she has an intense response, weeping at once, with sudden, wild abandonment. It seems that she has been strangled to death, and now someone’s hands loosen the neck to make her breathe fluently. She feels so relieved and delighted that she breaks into tears. However, Josephine and Richards in front of her don’t know what she is thinking; rather, they believe Mrs. Mallard is too grieved to put herself together. Mrs. Mallard, perhaps, wants to enjoy this rare moment alone, in secrete, so that she goes away to her room. Then, she begins to face her own consciousness. This part is the major idea of the story which the narrator tells. The narrator uses plenty of symbols to correspond with her feelings. For instance, the trees before the house were aquiver with the new spring life. The symbolic technique the narrator expressed Mrs. Mallard’s feelings with is brilliant, mordacious and felicitous. In this story, I think “air” and “window” are the motifs. Mrs. Mallard has had a suffocative life. She could not breathe the scent of freedom when living with her husband. Mrs. Mallard needs the air! She longs for the delicious breath of rain in the air as she was the leaf in the spring. She finally gets through the tedious and dreary winter. Before that she thought she was living in a confining chamber, like a jail without a window. But now, even though she becomes a widow, she gets a window to make her breathe and see the outside world. Mrs. Mallard, like a newborn baby, cannot wait for looking forward to the future filled with surprises and joys. Such vicissitude probably is her dream she has been waiting for her whole life to meet. She couldn’t keep pretending she is sorrowful anymore; thus, she unintentionally shows the bittersweet feelings on her face. Unfortunately, the happiness is like a zephyr. She cannot believe it’s a downright fraud that Mr. Mallard is totally safe and sound. The entire incident, obviously, is too much to her. Mrs. Mallard cannot stand it. It’s just like there are so many airs of joy and freedom coming to her, and suddenly all of them are brutally drawn off. If God takes the happiness, hope and blessing away from us, how can we live still? Such prank betrays Mrs. Mallard to her death.
The story is narrated by omniscient point of view, so the readers interpret Mrs. Mallard’s death is because of the attack of Mr. Mallard’s coming back to ruin her dream. But other characters in the story think that she is too joyful about her husband’s coming back to face the fact. It is tricky that the doctors said the joy that kill her. We know the fact is that her husband stops her joy so that she dies. And those characters believe that Mr. Mallard brings the joy to her but she couldn’t take it from previous miserable moment so that she dies. The author is wise to make the end ambiguous.
I like such sudden, unexpected and neat way to bring to a closure. It makes me recall the films in French New Wave. The filmmakers in that period preferred greater uses of symbolism and abstraction and dealt with themes of social alienation, psychology and sexual love. They loved to make a sudden climax and end the story, and they would leave an open ending to the audience to make them define it, continue it, or conclude it. Therefore, if Mrs. Mallard should live and tell her husband the truth, or she should live, keeping pretending she is fine like she did before. In my opinion, nothing is cleverer than the original one. If the author changed the end and kept writing the story, it would create an absurd anticlimax. It would ruin the whole story the author designs elaborately. Such French writing style could make readers taste again and again.If there would be anyone in Hollywood being considered for the role of Mrs. Louise Mallard. I think, based on Mrs. Mallard’s characteristics. Elizabeth Taylor in “Cat on a Hot Tin Roof” and Vivien Leigh in “Gone with the Wind” could be considered for this dramatic queen. If so, that would be fabulous!