The human heart is really fragile and powerful

Reed 2021-12-20 08:01:09

After reading it, he has become a fan of Stephen King.
There are three levels of storytelling. The first level is appearance, which is intuitively similar to the story of escape from a room. The female protagonist played sm with the male protagonist. The male protagonist died of taking drugs. The female protagonist was trapped in the bed in handcuffs to find a way to save herself.
The second layer: Marriage is the spiritual bondage of the male lead to the female lead. In the eyes of other people, they are a happy couple, but only the heroine knows that her husband is an arrogant, arrogant, degrading and objectifying female bastard, a pervert who fantasizes about sexual assault all day long. She was afraid of being discovered by others, so she could only escape, pretending that nothing happened, and being a "good wife".
The third layer: the shackles of silence. On the day of the solar eclipse, the heroine's father's sexual assault on the heroine, and the subsequent threatening behavior of the heroine, caused indelible mental damage to the heroine. She evaded everything, paralyzed herself, and convinced herself that the solar eclipse was just a dream , She covered her mouth, swallowed the painful moan back to her throat, lived silently day after day, endured the husband who was similar to her father, and wore the chains for year after year, until the chains would consume her life , She finally realized that this is her last chance. If she escapes again, she will die. Only she can break free on her own initiative, even if the process of breaking free is painful, but only in this way can she get out of the fear and despair shrouded by the blood moon.

There are two perspectives for watching movies: first, marriage and sexual relations. There are two marriages in the movie, one is the male lead and the female lead, and the other is the female lead’s parents. The two marriages are essentially similar. The two husbands cheated and the two wives both chose silence. They thought of patience and silence. The marriage can be saved, but the rift will grow bigger as long as it exists, and the shackles will kill their lives as long as they are put on. In the end, they can only ask themselves "Why did I marry such a man?".
Second, the relationship between parents and children. Stephen King seems to like to write about the impact of parents' behavior on children's growth and psychology. Take the heroine in this movie, her father is a pervert, but isn't her mother's indifference also a kind of injury? Why did her mother have a bad attitude towards the hostess? It was because she was aware of her husband’s distorted preference for the hostess. Even after the solar eclipse, the hostess smashed the glass. Her mother clearly knew something had happened, but she didn’t ask. He chose silence and let his daughter continue to live in fear, anger and anxiety.

The psychological description of this movie is simply too delicate, and the heroine's acting skills also made me hard to extricate myself, and in the process of escaping, I also took a sigh of relief, for fear of a reversal, although the heroine was trapped and rescued. The few events that actually happened were mostly just the inner dramas and memories of the heroine alone, but they were constantly accepting challenges psychologically throughout the whole process. Its horror did not come from the unknown, but from the heart and origin. Because of empathy, the experience of the heroine constantly pulls nerves. The moral code of betrayal on the one hand makes people psychologically uncomfortable, on the other hand, it arouses sympathy and sense of justice for the heroine. At the end, her back, who walked firmly toward the sun, almost cried. The human heart is really fragile and powerful.

Two Anaphora
1. The heroine looks at the back of the lake


2. "Much smaller than I remembered"


This sentence also appeared twice, and the corresponding answer also has two meanings, one refers to physical growth and the other refers to psychological growth.

Because I have seen many people questioning the setting of the handcuffs scene and saying that there is a better way to escape, I agree with it. I also thought about it when I was watching a movie. But what I want to say is that the theme of this movie is not this...how to get rid of the handcuffs is just a symbol of how the heroine can get rid of the psychological bondage. To liberate you must experience pain, which is equivalent to a butterfly coming out of its cocoon. This is a very typical and ritual. An expression of transformation. Although this movie is covered in the skin of escape, it is not a real escape movie. In fact, I think that escape in reality is not inevitable. The plot of "the heroine is handcuffed to the bed" can be a dream, yes Unreal imagination does not have much influence on the theme of the whole movie, but it will be more exciting and gimmicky like it is now.

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Extended Reading
  • Makenzie 2022-03-24 09:02:08

    Netflix finally made a good Netflix film after "Hunting Monday" [Like] Someone complained - Siri, please help me call the police, the whole drama is over! Haha, in fact, this is an early work of Stephen King, and there will be no voice flirting function. So the beginning is good, the middle drags a bit, and the ending is especially sloppy. Lao Jin always likes to attribute his sins to the shadow of teenagers, and this film is also a little blunt and acceptable. But the large flashback in the middle really disrupted the rhythm, lacking in one go

  • Briana 2022-03-21 09:02:07

    Still showing Stephen King's literary core, the most interesting interlacing of dreams and reality is the role of a serial killer, which is Stephen King's iconic setting and description. make the story interesting

Gerald's Game quotes

  • Young Jessie: The people who were supposed to protect you from the monsters turned out to be monsters themselves...

  • Jessie Burlingame: This monster was real, real as they come. As real as the cuffs, as the dog. As real as the eclipse.