In this essay I will be providing cinematic examples in order to best describe and explain some of the psychoanalytical work of Sigmund Freud and Jacques Lacan. Common and unique criticisms of their work will also be presented and argued for and against. I will primarily be critically reviewing Psychoanalysis in my chosen films: The Big Lebowski, The Wolf of Wall Street & Fight Club.
Freud's structural model of the personality
There are three distinct parts of the human personality that allows us to function and carry out actions as theorised by Austrian neurologist Sigmund Freud. These were the 'I', 'it' and 'above-I'. The 'I' (referred to by Freud also as the 'id') wants to be consistently satisfied. Present from birth, this is the uncoordinated, instinctual part of our personalities that often has repeating trends. According to Freud, the 'id' is essential from birth as this allows new-borns to have their needs such as food met by their parents/guardians.
A great cinematic example or symbol for this idea of the id is Leonardo DiCaprio's leading role as the real life stock-broker turned entrepreneur Jordon Belfort in Martin Scorsese's 2013 comedic biopic The Wolf Of Wall Street. This is because, as with the id, Belfort does not care for the needs or satisfaction of anyone else besides himself. As well as this, the reality of the situations that Belfort often finds himself within is also ignored and skewed in his perception in order to justify and continue carrying out his increasingly immoral actions. One internal justification Belfort gives early on in the film for his illegal practice of selling stock at an inflated price to investors who don't know otherwise is "I knew how to spend it better".
The Coen Brothers' 1998 neo-noir crime stoner comedy film, The Big Lebowski, centres around the unconformist, slacker-guru, stoner and avid bowler: The Dude (Jeff Bridges). The Dude functions without so much attention to the 'above-I' (the superego) of which is the theorised part of the personality concerned with class or wealth and societal expectations of rules and normal behaviour. Because of this, The Dude is primarily guided by his ego ('it') and id. The ego is driven by the reality principal and is concerned with satisfying both the demands of the id and superego.
Psychoanalysis has been a useful approach to film critique and analysis as it helps the audience to better understand the auteurs' intentions and the deeper, concealed meanings beyond the narrative. Freud's theory of psychoanalysis, when applied to the motivations of characters, allows us to clarify the actions of characters. In one instance, The Dude himself considers the potential motivation for Bunny to kidnap herself by analysing her psych; by assuming she married Mr Lebowski for money, he figures that she isn't being satisfied with the amount she's received thus far.
Walter displays his lack of conformity to society on many occasions. Rebellious against societies rules but also an enforcer of them as he demands his fellow bowler to play by the rules of bowling. He is both calm and explosive. As if for the most part he is holding back his discontent. He results to the threat of pre-emptive violence to end arguments.
Freudian Slip
During one bowling alley scene, Walter tells Donny to "Shut the fuck up Donny!" as Donny mistakenly mistook The Dude for mentioning John Lennon instead of V.I. Lenin, Vladimir Ilyich Ulyanov. To Freud, this would be considered a parapraxis: an instance in which Donny has misheard due to the interference of a dynamically repressed conflict, train of thought and wish of which is guided by the ego and the rules of correct behaviour. However, I think that in this case it is simply a lack of knowledge of Lenin on Donny's behalf. Many alternate causes of Freudian slips (as they're often referred to since his 1901 book The Psychopathology of Everyday Life) such as inattention have also been proposed by psychoanalytic theorists.
In one scene, The Dude fails to notice an oncoming truck in sufficient time while driving and thus subsequently crashes. This is a result of him being distracted by trying to remove his lit blunt that he dropped on his crotch. It's implied with the use of the editing technique, shot-reverse-shot, that The Dude thought he was being followed. Paranoia which could lead to this assumption is a common side-effect of marijuana usage on the conscious. This is a great example of inattentional blindness. I believe the Coen Brothers included this scene to give us a glimpse into the psychological lack of attention to the unexpected occurrences in plain sight in his life. This can help the audience to better understand The Dude's reactions such as earlier on in the film when he is surprised by his own reflection and seems to briefly not recognise himself.
Defence Mechanisms
After The Dude's rug is stolen as he is mistaken for another Mr Lebowski by Nihilists seeking debt from his wife, Bunny, he tries to receive some sort of compensation from the other Mr Lebowski by meeting at his residence. Mr Lebowski is unconsciously aware of his apparent prejudice we see displayed towards The Dude's lifestyle and behaviour. My hypothesis for the cause of this prejudice is that due to Mr Lebowski's immobility yet success, he has come to have discontent for other peoples perceived laziness and lack of success. This brings us to Freud's theory of rationalization: a defence mechanism in which someone justifies their controversial emotions and behaviour, of which I think can be observed in this conversation. Mr Lebowski rationalizes his refusal to pay for a new rug for The Dude (perhaps the least he could offer for the inconvenience) by aggressively stating: "Every bum's lot in life is his own responsibility, regardless of whom he chooses to blame ... I didn't blame anyone for the loss of my legs. But I went out and achieved anyway". Emphasis should be placed upon the latter part of the sentence: the attempted rationalisation that reveals the root cause of his prejudice.
Mr Lebowski represents the upper financial class of society. While The Dude exhibits respect for Mr Lebowski, he does not conform to him, as Mr Lebowski has come to expect from others, based on his wealthy social status. When outside his office, The Dude and Brandt discuss "The Little Lebowski's Urban Achievers" as shown in a photograph. The positioning of Mr Lebowski in this photo is significant as he is placed in the forefront; drawing the attention to himself, instead of the children the charity supposedly benefits - this gives the spectators a clue into the later revealed self-oriented nature of Mr Lebowski. This scene takes place in the lavish mansion of Mr Lebowski. The luxurious extravagance of the décor within the mise-en-scene reveals Lebowski's desire for validation. This is in stark contrast to The Dude's apartment seen later on.
Dreamwork
In order to gain insight into The Dude's subconscious, we are presented with two surreal dream sequences. As to whether or not the Coen brothers intentionally drew from Freud's psychoanalysis theories of dreams in these sequences is unknown. However, obvious intentional symbolic meaning can be interpreted regardless and I believe at least secondary influence is apparent. In his landmark 1900 book, The Interpretation Of Dreams, Freud proposed the idea that our dreams may be desired wish-fulfilment. This theory has largely been discredited by psychologists and scientists as there's still a lack of scientific evidence for the case and dreams can often be interpreted in various opposing ways.
The skittles are represented in the dream as women; with the women's outfits matching the colours of such and also featuring straight-up visual depictions of them. Bowling is strongly linked to sexuality in this dream. The dream indicates that these are The Dudes main instinctual drives and we are shown symbols that link them together. Due to his state of unconsciousness, The Dude's ego is not in control and hence his perception of reality within the dream is skewed and out of his control.
In the first dream sequence of the film, The Dude is blissfully flying over Los Angeles. Perhaps this is a visual metaphor for him being "high" on the marijuana he is often seen smoking. This could also be a psychoanalytic symbol of him being stuck on the oral stage of Psychosexuality. Everything psychological is biological, so this may be the Coen Brothers representation of the effects of recreational drug use on The Dude's mental state. Flying within dreams is a symbol of sexual excitement, according to Freud's work. From another psychoanalytical perspective, this is also an instance of wish-fulfilment, as later he does have sex with Maude Lebowski (daughter of Mr Lebowski), of whom is also seen flying on The Dude's recently stolen carpet. This is also backed up by him carrying out a breast-stroke movement as if he were in 'pursuit' of her.
Lighting
Low-Key: Employs very little fill light, creates strong contrast and often creates strong shadows that obscure parts of the principal subjects.
High-key: Fill light is raised to almost the same level as the key light: images are usually very bright and feature few shadows on the principal subjects.
When a movie is in shadows nearly the entire time, flashes of light become very noticeable and very important
For example: after we see Tyler fight in this scene, he stands above his opponent and a light shines behind him. This lighting expresses to the viewer how highly the narrator think of Tyler at this point in the film
Tyler is a god-like figure in this scene - the narrator puts him on a pedestal.
Fight club utilises predominately low-key lighting
Dark themes and twisted storyline in the film are enhanced
The narrators insomnia and mental illness are represented through these shadows - detachment from reality, "darkening" of outlook
Props/decor
Help circle scene:
The large size of the rooms show how small/insignificant the men feel because of their loss of masculinity through their traditionally feminine emotions, to the reality of their situation.
The american flag in the room represents the american dream, of which Tyler later refers to as ultimately unachievable.
Tylers pad:
There are various things in the narrators bachelor pad that help reinforce themes of consumerism
Seems that he is trying to achieve hipster perfection - his apartment has loads of furniture while his fridge remains nearly empty. - not looking after himself? not conforming to his biological needs? too busy to eat? too lazy?
This contrast is a reference to the fact he cares more about his own vanity satisfaction than his basic human instincts.
Conventionally, decorating/furnishing is not considered a masculine activity yet the narrator is at one point keenly focused on it, reflecting the films theme of loss of masculinity.
Costume
Costume plays a large part in the mise-en-scene - it can instantly tell us the character's personality, social status and job.
Tyler clothes resemble that from a thrift shop. Instead of a named brand clothing. - anti consumerist anti corporation.
Shirts are not completely button or tucked in. His jacket is the colour of blood
Narrators clothing are all expensive designer clothes - CK shirts, DKNY shoes and AX ties. His shirts are always tucked in and buttoned up. His wardrobe is very respectable. Embraces consumerism and is extremely materialistic. The narrators costume changes over the course of the film to plain clothing. No designer clothes anywhere. Stops trying to be perfect in the way he looks. Fight club sets him free from materialism.
Camera and Character placement
Birds-eye view - shot from above the subject. Usually used to make the people in the scene less significant to the viewer or to notice/concentrate on the surroundings.
High Angle - reduces the size of the subjects. To imply harmlessness or insignificance, but not as much as at the birds-eye view.
Eye-level shot - clearest view of an object, creates a less dramatic feel because it tends to be the norm.
Scene analysis - Jacks smirking revenge
The room is dull in colour - black grey and white
the lines are very straight non diagonal - conformist
His clothes are untucked - throne one - he no longer cares about the superego demands - completely following his id
Rule of thirds is followed - structure is present
The cinematography is ironic
the traditional low high angle power dynamic is reversed - tyler is the actual one with power in this scene.
Scene analysis - I want you to hit me
The scene is shot from a parallel angle - the left side of the screen mirrors the right shows how Jack and Tyler are the same
The first rule of fight club scene:
the 360 shot around Tyler/jack shows they are the centre of attention - the id is the centre of attention
The queer gaze takes place in this scene - specifically at Tylers body - does this indicate Jacks narcissistic tendencies
Jack sees Tyler as the ideal version of himself, the self he wants to be.
Scene analysis - 'Letting yourself become Tyler Durden':
The narrator learns that he and Tyler are the same person. A great combination of cinematography and editing is combined to intensify the revelation to the audience. For example, numerous flashbacks in which the narrator takes Tyler's place in the scenes are shown and intercut with Tyler and the narrators reactions to this flashback, of which they both seem to experience.
- The fact that Tyler also seems to have seen what the narrator saw, reaffirms the narrators belief; that Tyler is in fact an imaginary construct of the narrators desires.
- Tyler casts two shadows in this scene, symbolising his split personality.In one instance we are shown a shot whereby Tyler is no longer seen sitting on the chair, we are outside of the narrators imagination. A dutch angle is used to show the narrators reaction to Marla calling him Tyler Durden.
- Thought this clip, the shots are edited together to ensure that the narrator and Tyler see eye to eye, meaning that for example if in one shot Tyler is on the left hand side of the frame looking towards the right, in the next shot the narrator is on the right hand side of the frame looking towards the left - seemingly looking at each other if you were to overlay the images. This framing continues up until Tyler confirms the narrators suspicion that they are in fact the same person. From this point onwards the narrator is positioned in the centre of the frame and is hence no longer seeing 'eye to eye' to with Tyler. Perhaps this change signifies their different perspectives on the situation. The narrator is seemingly shocked and troubled by this revolution whereas Tyler is grinning.
The cinematography of Fight Club is distinctively two polar opposites. In some scenes such as those that take place at the narrators workplace, the cinematography is primarily of a higher key in lighting and is predominately grey in tone. The cinematography in these scenes are intended to signify how mundane the narrator sees his work. This is in complete contrast to for example the fight club scenes whereby the cinematography is very low key with neon colours intended to signify an excitement.
Bibliography
Last name, First Initial. (Year published). Title. City: Publisher, Page(s).
- Russell, Julia & Jarvis, Matt. (2010) Key Ideas in Psychology. Hodder Education, Page 64 - 65
- Heffner, Dr. Christopher L. (2013) Psychology 101. Allpsych.com http://allpsych.com/psychology101/ego/, Chapter 3: Section 5: Freud’s Structural and Topographical Model.
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