Siku wrote:Camilla, your observations are very perceptive, I hadn't spotted any of that - it's time for me to see this film again. And thank you for taking the time to consider my questions.
For my second viewing I shall keep in mind that the into ear/out of ear thing is a framing device that separates what happens within the frame, from what happens without.
And also the idea that both Dorothy's son and Frank are doppelgangers of Jeffery.
I'm not sure if the ear framing device implies a dream, as it does in MD, or if a 'dream' interpretation is even necessary to make any sense of the plot, as in Lost Highway. You know what? The thing that makes me think we have to look at the deeper, oedipal layer of this film is that the basic plot is just so dopey and hammy in it's execution. It only really comes alive because we can hang all these freudian symbols from it.
The child is Jeffery, the murdered father is the oedipus-displaced father, Frank is the repressed/externalised emergent sexuality, and Laura Dern is the acceptable object on which to transfer desire and create an adult hetrosexual self. His reward? Insertion into the patriarchal nuclear family unit.
Must see again....
Users browsing this forum: No registered users