Tonight in philosophy of film we switched topics, so instead of watching a bunch of happy-ending love stories (basically, the actual name is "comedies of remarriage") we're watching melodramas, or more specifically put, "melodrama of the unknown woman", which promises to be a very intriguing and thought-provoking topic. It's hard to describe in a few words what exactly we're talking about, but a lot of it has to do with women's voices being shut out (or down) by men, how marriage or just relationships with men in general cause a woman to lose her voice, to be ignored, that sort of thing. We're also doing something with motherhood I think, which I take it to be how the role of a mother overwhelms a woman's independence and voice apart from that, how she loses herself within it. I think part of this topic includes women's knowledge, how they know and their identity apart from men. At least, that's what I'm taking it to include.
We have to write a paper on one of 4 movies, and I'm choosing the first one, Gaslight, partially because we get 3 weeks to do it instead of the normal 2 since we don't have class next Monday, and partially just to get it done so that I don't have all of my big assignments at the end of the semester. Plus the movie was really great, so that sealed the deal for me.
The movie we watched tonight, Gaslight, with Ingrid Bergman and Charles Boyer, was about her getting married to this guy who drove her crazy by insinuating that she already was crazy, that she was always forgetting and losing things, or hiding things, hearing and seeing things, and he set things up so that she almost couldn't help but think it, like giving her something and then later on finding a way to take it without her noticing it and then blaming it on her "losing" it. He also found a way to make her doubt her past, so that she really had no way of knowing what she remembered or could believe actually happened. She had nothing to check any of her knowledge against except his word, and he was able to twist the truth and other people's perceptions of her so that it really seemed to everyone, including herself, that she was crazy. It was really creepy to watch him do these things and her fall apart and become crazy because there was no way for her to not doubt her reality. He called it an illness and used it as a way to keep her trapped inside the house, without letting her have visitors or go places because she would break down (because of things that he would do that made her feel crazy). In a way, his power of suggestion made it so that she thought herself to be crazy, but he also set things up so that there really wasn't a way to know anything for certain. It's almost like Descarte's method of radical doubt that he used in the Meditations, except obviously different because she did not want to doubt, and there was no way she, by herself, figure out what was true to her, if what she remembered was actually true or not. Even when someone else was able to make her know that what she thought was real actually was real, he found a way to turn it around on her until the very end. Then, in one of the final scenes, when she learned the truth about everything, she turned his method around on him and made him think he was crazy, just for a moment, before she acted like she really believed she was mad in order to get her revenge on him. It was, in my opinion, a brilliant scene. Well-acted, well-written, and well-directed. It was a great movie, both eerie and fascinating.
I never knew that everything was falling through