In 1968, Roman Polanski’s new film Rosemary’s Baby was born. Because the subject matter and content were too novel and weird, some theaters had to place notice boards for minors and pregnant women to watch carefully at the door. The audience was women on the big screen. The protagonist Rosemary was deceived by her husband who signed a contract with the devil to join the cult for fame and fortune, resulting in a miserable fate of having to spend the rest of her life with the baby who was successfully possessed by Satan. The female audience in the audience could not help but worry about their present and future marriages. With a sweat in life, women are reminded for the first time that in addition to family happiness and universal happiness, what marriage and childbearing bring to them may also be a hell whose flames will never go out. We are not surprised at all. Years later, Rosemary’s baby was elected as the benchmark of the so-called feminist film. Rosemary’s baby is a cruel fable. The husband and family are no longer a refuge for women and the ultimate destination of life, and men are no longer one. A creator, a man can also be a destroyer. In the end of the movie, Rosemary has a mixed heart like a knife and still holds a baby possessed by Satan. This is the female value of 1968, except for forgiveness and forgiveness. Other methods, the search and choice of women's own value has always been a question of nature
When the time came to 1975, Simon Pova attended her first and last TV interview. The feminist master said the famous sentence that the reason why women are women is not the result of natural selection, but is made by history. For women, in the second sex of her philosophical prose, Simon Pova fully unveiled the veil that has been shrouded in women’s heads for thousands of years from the perspectives of biology, psychoanalysis, and historical materialism. But Rosemary The tragedy of the style continues to be staged
In 2017, Darren Aronofsky's new film mother! It’s not difficult to see from the released posters that the director deliberately or unintentionally revealed an important message to the audience and film critics. This new film is more or less a tribute to Rosemary’s baby.
Different from the cool background color and the lonely stroller, the cozy cabin in the silhouette of Jennifer Lawrence and the host at the door are in harmony with the bloody sunset, adding a hint of irony. In Darren's new film, the specific names of all the characters All have been eliminated. This anti-concretization and anti-story has completely turned the film into a metaphor. Darren’s shoulder-mounted photography vertigo lens and coherent facial close-ups are not surprisingly inherited and added to the film in his new film. A strong sense of depression and physical discomfort
The heroine's head up in the script is mother. What complements her naturalistic head up is her only job in the whole film, nesting and childbirth. Twenty minutes before the film, the director uses the nuanced lens language to show the daily family The housewife’s work and the stained floor that is always not cleaned in close-ups amplify the physiological discomfort caused by housework. It is worth mentioning that the mother’s nesting work was accompanied by the complete absence of the other half. The director deliberately Amplifying the heartbeat and gasping sound allows the audience to see that Mother’s emotions are tense from beginning to end. This shot full of feminine dedication penetrates three-quarters of the film, as the writer’s husband’s followers continue to follow. Mother’s intrusion, the mother’s emotions reached the first breakdown, her well-arranged warm family was trampled on by strangers, the mother changed her usual gentle tone, loudly berating the followers to leave their territory, this is all living things in nature Naturally, the heroine’s second emotional breakdown was after giving birth. The number of followers who continued to increase and lost control ate her baby. Angrily and desperately, she picked up a lighter and lit up what she had done for it. Like a cherished home, like the strange woman who burned in the flames and wept in the first scene of the film, mother becomes part of this cruel cycle. Another woman who appears at the end tells the cruel facts contained in the movie. Dedicated women praised by the patriarchal society are kitchen paper, which can always be replaced. They have different faces but they are not the same. They don’t need names or specific identities. They are hidden behind their successful husbands. The bridge section of the fire house that the audience praised as a sign of female resistance was also weak. The husband was unscathed in his wife’s anger. He just held his wounded wife and took out her heart, while the crystal of dedication was laid. The bogu shelf in her husband’s study was used to show off and win admiration. The director of the ending subtitles specially selected the 1963 old song The End of the World as the final funeral song of these women who died of dedication, which is quite ironic.
But I have to say that the director’s overall emotions are compassionate. The extremely wonderful surreal lens language and Darren-style montage in the last thirty minutes are a potion of the slightly dull main tone of the whole film. Mother’s worries in thirty minutes. The situation with the mother is self-evident. The director looks at all the women in misfortune with sympathetic eyes. The mothers pass through wars and disputes, through history, through physical and spiritual suffering, and give birth to the holy baby. Only motherhood is worth praising
I think Rosemary in 1968 looked at her mother in 2017 and saw Jennifer Lawrence, who was covered in blood and bruises raising a lighter to burn everything, she would smile in her heart. After all, there have been a lot of things that have happened in the past 49 years. of
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