Polanski was nearly eighty years old when he shot Venus in Furs. He set up a man and a woman, a rudimentary theater, opened the door, and a good show was staged: about men and women, about true and false, about power, and about desire. A man and a woman ramble about, do fake dramas, and rehearse the stage play "Venus in Furs". The relationship between them is turbulent, and they are finally brought to the stage. The nature of love makes people feel cold. Although I think... the works discussing the nature of love between men and women have existed since ancient times and have never been discontinued. Love is always a new topic, it just depends on the craftsmanship. The core of Polanski's exposition is not enough. I prefer him to rehearse the plot. Inside and outside the play, the two lines unfold so smoothly and parallelly, and the playwriting skills are perfect. For an hour and a half, only relying on a man and a woman, dialogue, and barren props, such as two or three simple brackets, propped up the entire tent. The plot is full of dramatic tension. The fly in the ointment is that the technique is used frequently, and in the second half of the film, it is easy to cause aesthetic fatigue. Let's put the shortcomings aside and focus on the plot: In short, a woman with the same name as the play's heroine, "Wanda," comes to interview for the heroine's spot. She rehearsed the play with the director. The best part of the plot naturally focuses on the rehearsal process. The women and men in the play, in the beginning, the power relationship belongs to the strong women and the weak men - they made an incredible contract. The man, the indecisive and melancholy rich young master of literature and art, is fascinated by the mysterious woman and willingly becomes her servant. Outside the play, Wanda and the director, at first Wanda was despised by men: rough and cheap clothes and uneducated conversation, the director did not think she was qualified for the role, and under repeated requests, "Have mercy" gifted an audition. At the end of the film, the two power relations are reversed, and the man regains the upper hand, eventually tying the woman to a tree and whipping it. Outside the play, the director played the role of Wanda, was led by the nose by Wanda, put on a black leather collar, put on bright red lipstick, and finally was tied to a prop post and could not move until the curtain ended. Polanski, through "Venus in Furs", undoubtedly discusses the power of love between men and women. Including his introduction of the name in the movie, the heroine said, this is a "SM" novel. In the love relationship, SM can be said to show the power of sexuality very naked and frankly. Choosing SM as an image, Polanski amplifies it to normal men and women. It turns out that the core cannot escape it. Dominate, be dominated, power. Wanda is rich in feminism, and it is set up in this way, which is exactly the opposite of the male superiors and females under the modern patriarchal system. Wanda proposed that women also have the qualifications to fight for power. When women are no longer the pets of men, what will they become? In recent years, there has been a lot of discussion on the Internet about feminist thinking , I won't go into details. But in the love between men and women, women dominate the power and form a dominant pattern. Of course, it is an important voice of women who are subject to patriarchal power. I love a comic, Chainsaw Man. Fujimoto wrote the role of Machima. She is powerful and invincible and is the "Demon of Domination". The twisted love relationship between her and the hero Denji is very similar to the hero and heroine here. The difference is that Denji is an "uncivilized" male, and Machima is not so much dominating him and gaining the pleasure of reversal power as it is enlightenment. She herself has divine power, so there is no need for "feminism", she is power. In "Venus in Furs", the power relationship between the two has not been so disparate that at the end, the male protagonist once again completed the tame of Wanda. Outside the play, the director completely lost to "Wanda". Director Polanski's metaphor is to tie the director to a phallus-shaped prop post, implying that the reason for his loss is "desire." In this regard, to delve deeper, it is necessary to relate a lot of knowledge such as psychology, and I will no longer analyze it. There are a lot of symbolic bridges and scenes in the film. What impressed me the most is that Wanda put the black collar that was originally on his neck, and put it on the neck of the male protagonist, like domesticating a docile dog. Including she asked the director to play the female character Wanda, dressed in women's clothes, wearing high heels, walking on the ground with her knees, tied to a pillar to endure desire... She was naked in fur and played the role of the goddess of Bacchus in Greek mythology. , singing and dancing, provocative, lustful, and powerful in body. The man is pinned to the incarnation of desire to stare at the free woman, the woman eventually flees the dark theater, and the man has nowhere to go. Some other episodes, about whipping and the catharsis of violent desire, I will not mention more, they are all of the nature of SM, and they are the sharpest manifestation of the desire to conquer. In daily life, the feelings of men and women, and even the feelings of homosexuality, are not so intense. In fact, no matter what gender you are, even if you do not belong to the physical "male" or "female", human beings have an innate worship of power in interpersonal relationships. Through the ancient form of domination of sexuality, the exploitation of "women" by "men" is completed, and "men" pay the price of gaining power: it is difficult for them not to be punished by male desire, lose their minds, and become slaves of desire. From the perspective of primitive sexual desire, it is undoubtedly a double-edged sword arranged by the Creator. Taking advantage of the fragility of male desire, women can also awaken and complete conquest. Compared with the physical intrusion, Wanda's mental corrosion to the director is more terrifying. She successfully "domesticated" him and really held the reins around his neck. Revenge of the Weak". From the physical game to the spiritual game, love is upgraded from this, and it is endless. It's all about primitive reproduction, and every human being is tortured for the weakness of human nature. The power structure in intimate relationships has existed since ancient times. Not only love, but also the most primitive source of family affection, parents and children. We have been educated by power since birth and live in the cage of power construction. When we grow up, we re-enact our understanding of intimacy and become "warriors": fighting for spiritual superiority in intimacy. There is a licking dog, a sea king, and winning and losing. Because love in reality is a very cold thing. Complementary Desires: Burning out the accelerants of reason, few can resist the primal impulses. The so-called "original sin" of human beings, the so-called "human nature is inherently evil", the so-called little devil in the heart. Nothing more than the impulse to fight for power. Polanski did not tell us, in love, how the struggle for power ended, did not tell us where the right path is. Expecting a perfect and equal relationship is obviously unrealistic: can you and your parents be 100% equal? Even if they can earn money and become self-reliant, the two sides do not need to support each other in their lives, and an umbilical cord has long been formed in the spirit... The physical umbilical cord is cut at birth, but the spiritual one exists for a lifetime. Between lovers, the power to become a "father" is scrambled all the time, and everything is sacrificed for it: even if we can smile and eat candlelight dinner together on the surface. Before a stable form of power is formed, either one party will rule forever, or both parties will take turns to rule (in my personal opinion, the realization requires both sides to be evenly matched and relatively selfless) love is war. There are many chips in the power struggle. The most intuitive response in the blind date market is material conditions: money, RV, occupation, age, appearance. The value of human beings, derived value, is converted into chips that can be evaluated in the love casino, holding similar ones, sitting at a gambling table, face to face, betting, opening cards, willing to admit defeat. Complete the most efficient human reproduction pairings. But for those who don't need a blind date, the cost of the game is more invisible than the material. Many people say that looking at the edge of the eye and the feeling of the heart, in the final analysis, is looking for a power model for domestic demand. If this desire can be satisfied, two people can become lovers. Some people yearn to dominate, some people yearn to be dominated... People who yearn to be inferior are like children who are obsessed with their parents, and they also have the reins of their parents in their hands. In love, in parent-child, there is no complete, overwhelming dominance. We can say that we are willing to be dominated, that we are willing to dominate each other, to domesticate each other. This kind of collegiality is especially valuable, it requires the transfer of power, and it needs to remain unchanged for a long time. Writing here, a strange answer has emerged: transfer power, Taking the initiative to admit defeat, we can achieve real happiness. Only the strong can overcome the desire to seize power, willing to sacrifice, willing to negotiate, and willing to build each other's domination system. This performance, most people call it: love. But can humans really resist the temptation to exercise power and deliver the knife to another person? Polanski may express pessimism, so he will shoot the love cycle of men and women, but I don't know the answer. Perhaps only Venus in fur knows.
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