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For years, I was a major Woody Allen fan, and to this day I adore many of his movies -- Annie Hall, Manhattan, Hannah and Her Sisters and Stardust Memories, to name but a few. But after his marriage to Mia Farrow blew up following the affair with Soon-Yi Previn, I stopped going to see his films, mostly due to a kind of moral loathing. Long years have since passed, however, and I'd heard so many good things about Midnight in Paris that I decided to set my moral objections aside and take another look. With an ensemble cast that includes Owen Wilson, Kathy Bates, Marion Cotillard, Adrien Brody and Rachel McAdams, Midnight in Paris is Woody Allen at his best. The opening montage is a kind of homage to Paris, in the way that the first few minutes of Manhattan express Allen's love for New York City. Gil (Owen Wilson) is a successful screenwriter from Los Angeles who considers himself a hack; he wishes he'd been born earlier and had lived in Paris of the 1920s, among literary and artistic giants such as F. Scott Fitzgerald, Ernest Hemingway, Salvador Dali and Gertrude Stein. The longing is so powerful that he's actually transported back in time to that era and meets with all of his heroes, coming to know them on a first-name basis. For Gil, it's a dream come true, the fulfillment of his deepest fantasy wishes.
Most professionals who go to see films that fictionalize their own field often object to Hollywood's blunders and distortions. I remember my first-year associate friends howling at the movie theater, many years ago, when Glenn Close in Jagged Edge told her senior partner that she "already had a case" -- as if an associate at a law firm worked on only one case at a time! As a psychoanalyst, I have some problems with David Cronenberg's film A Dangerous Method, starring Viggo Mortenson as Sigmund Freud, Michael Fassbender as Carl Jung and Keira Knightley as Sabina Spielrein. Although the background history was clearly researched with great care, screenwriter Christopher Hampton and presumably director Cronenberg know little about how psychoanalysis actually proceeds. What bothers me most is the absence of the notion of an unconscious mind. Although in their conversations, Freud suggests to Jung that he has murderous impulses toward him, presumably unconscious, when it comes to Jung's work with patient Spielrein, the idea of unconscious memories, impulses or ideas is entirely absent. In those early years, Freud and his followers believed symptom relief came from abreacting traumatic memories, either by recovering the lost memory and putting it into words, or working through that memory by bringing it into relation with other conscious thoughts, memories and feelings. Abreaction occurs as a normal part of our daily experience, but in trauma, the memory is not abreacted and instead remains unconscious. According to LaPlanche and Pontalis, "The effect of an absence of abreaction is the persistence of the group of ideas which lie at the root of the neurotic symptoms; they remain unconscious and isolated from the normal course of thought" (emphasis added).
LinkedTube A new 70th anniversary edition of Citizen Kane, first released in 1941, was recently issued. I thought I'd take this opportunity to discuss why I think this film is great. When film historians and critics write about Citizen Kane, they mention its innovative camera angles -- the way director Orson Welles plays with shadow and perspective -- or its groundbreaking departure from chronological narrative. While I admire these features, what I appreciate most about the film is its psychological portrait of Charles Foster Kane. Long before the label narcissistic personality disorder entered our lexicon and people routinely discussed the narcissistic behavior of their friends and family, Orson Welles gave us a character unable to feel empathy for other people; who craves, even demands attention from the entire world, and who becomes enraged when he can't have what he wants. These are the features we have come to associate with the narcissist. Charles Foster Kane -- or Charlie, as he is known to his friends -- was born to parents who operate a simple boarding house in Colorado. When mining stock given in lieu of payment by a boarder makes his mother (Agnes Moorehead) wealthy, she consigns Charlie to the care of a wealthy banker for his education. In the scene when she signs the necessary papers, Mrs. Kane at first appears emotionally detached; but when her husband threatens to beat Charlie for pushing the banker into the snow, she says, "That's why he's going to be brought up where you can't get at him." This scene, with an emotionally remote mother and an abusive father, offer the only clues to the origins of Charlie's personality and later difficulties.
Although Jim Carrey’s films are usually pretty zany, in some of them he tackles psychological themes. Yes Man (2008) is one of those. In it, he plays Carl, despondent over his divorce. He automatically says “no” to any question, request or offer that comes his way. A former co-worker tells him about a “YES” seminar in which participants are urged to make a covenant to agree to whatever is proposed to them. Carl becomes a “yes man” for a time with both pleasant and unpleasant results. When his new girlfriend, Allison (Zooey Deschanel), asks if he wants to live with her, Carl says yes, but not whole-heartedly. Here he comes to the crossroads where he finally learns discernment: to be free to answer either yes or no, depending on what he really wants or doesn’t want.
In The Upside of Anger (2005), Terry Wolfmeyer (Joan Allen) is described by her youngest daughter, Popeye (Rachel Evan Wood), as having been “the nicest person I ever knew. She was the nicest, sweetest woman that anyone who knew her ever knew.” Terry’s husband disappears one night and she jumps to the conclusion (unconfirmed) that he has run off with his Swedish secretary and left her and their four daughters without a word. Terry goes from being the nicest woman in the world to becoming angry, bitter and cynical. The pendulum swings from seeming Stepford Wife behavior to uncensored rage fueled and abetted by alcohol. We can guess that Terry was really not all that nice and that she was covering up all her “darker” emotions, until events triggered and released her fury. Although the characters don’t show particularly mature or skillful ways of expressing their anger, in my classes I’ve found this film to be a powerful way to start talking about anger.
In Rachel Getting Married (2008), Anne Hathaway plays Kym, who is released from rehab in order to go to her sister Rachel’s wedding, which takes place at the home of her father, Paul and step-mother, Carol. The particular scene I’ve chosen illustrates what happens when a parent doesn’t or won’t acknowledge her feelings and/or proper share of accountability and responsibility, in today's terms "owning her own stuff." The child is then left holding the bag, so to speak, of the parent's unowned emotions.
The main storyline in the film The Divine Secrets of the Ya-Ya Sisterhood (2002) has to do with the relationship between mother Vivi (Ellen Burstyn) and daughter Sidda (Sandra Bullock). I want to focus on one particular scene here [click to watch] which gives an insight into Vivi’s relationship with her own parents (Sidda’s maternal grandparents).
I find Lady Gaga such a fascinating figure, not because of her artistic talents as much as the paradoxical nature of her public self. On the one hand, she often comes across as naive or simplistic, with the "love yourself" message she constantly sends out to her adoring fans. As I've written before, you can't achieve authentic self-esteem in that way, but she nonetheless seems genuinely to believe in that message. During the many talk show interviews she has given, whenever she speaks to fans in the audience, she comes across as sincere and caring. On the other hand, here's what she said to Anderson Cooper about "fame management" during their interview on 60 Minutes: "One of my greatest art works is the art of fame. I'm a master of the art of fame." This makes her sound almost calculating, so entirely conscious of herself and the impression she makes at every moment of every day that you have to wonder whether her "love yourself" message is just another part of image management.
[This is a continuation of the exploration of mother and daughter relationships - for prior posts, click here and here] Woody Allen’s film Alice (1990) is a kind of heroine’s journey. In it, Alice (Mia Farrow), married to a wealthy attorney, goes to Chinese herbalist Dr. Yang for help with a bad back. More than just curing the symptom, the doctor, through his various elixirs, helps Alice explore hidden parts of her psyche. [For a more detailed analysis of the whole film, click here] The scene that I focus on below exemplifies a daughter’s idealization of her mother. In it, Alice meets her “Muse” (Bernadette Peters) who, in trying to find subject matter for Alice to write about, shows her the objective truth about her mother.
Further exploring various dynamics of the mother and daughter relationship [For the first part in this series click here], we’ll have a look at a scene from Postcards from the Edge (1990). This film is based on the semi-autobiographical novel by Carrie Fisher (daughter of actress Debbie Reynolds). Suzanne Vale (Meryl Streep) plays the addiction-prone actress daughter of movie star Doris Mann (Shirley Maclaine). Doris is portrayed as overbearing, controlling, manipulative, competitive, narcissistic and self-absorbed; Suzanne is very much in her shadow. In a particular scene towards the end of the film [click here to watch], Suzanne is doing a voice-over for a film she’s just made. She has a heart-to-heart conversation with her director, fatherly Lowell (Gene Hackman):