Ahogy az Ahol a folyami rákok énekelnek c. film (eredeti cím: Where the Crawdads Sing) felépítő elemzésében kibontottam a női szerepet, most folytatom a férfi résszel, és a történet mögött megbújó mondandó elemzésével, összegzésével.
Férfi szerepek
Először itt van Tate, Kya gyerekkori ismerőse, akivel kapcsolatban mindig erős szimpátiája volt. Apja nem engedte közel hozzá, de úgy tűnik az apa eltűnése után se kerültek szorosabb kapcsolatba. Olyan 18 éves koruk körül találkoznak újra.
Tate gondoskodó, mert nagyon sokat foglalkozik Kya-val az elején, még az elköltözése előtt.
Tate lovagias és figyelmes, mert erős vágya ellenére nem fekszik le Kya-val, nehogy teherbe ejtse házasságon kívül.
Majd elmegy egyetemre, és érthetetlen módon nem ismerte a levelezést, amit az újratalálkozásukkor ugyan próbál magyarázni, de lássuk be, ő se százas.
Ettől függetlenül minden alkalommal próbálja védeni Kya-t Chase-el kapcsolatban.
Hát, ez volt a szőke herceg fehér lovon. A mesehős, akit a való életbenannyira ne várjunk, hogy eljön, mert a másik karakterben megtestesülő személyiség a valószínűbb választás egy Kya traumájú embernek. Csakhogy úgy tűnik a készítők nem nőttek ki az esti mese korából.
Dr. Máté Gábor magyar származású kanadai orvos forgalmazza meg egy Friderikusz podcast-ban, hogy amikor párt választunk, akkor hasonló mértékben traumatizált személyt találunk magunknak, nem feltétlen ugyanazzal a mintával.
Tate is traumatizált, aminél persze nehéz összevetni, vajon ez hasonló mértékű-e, mint Kya-é? De ebben legalább következetes a film.
Máté Gábor megállapításához jön még egy lényeges adalék párválasztásában, az úgynevezett szexuális imprinting, aminek lényege, hogy személyiségre hasonló párt választunk tudattalanul, mint az ellenkező nemű szülőnk. Aki ráadásul még arci jellegekben is hasonlítani fog. Ezt alá is támasztja egy PTE Evolúciós Pszichológiai kutatás.
Itt jön képbe Chase, aki a másik férfi szerep.
Megtestesíti a tahó, nyomulós macsót, aki a túl gyors közeledés utáni kikosarazás ellenére is – meglepő módon – érdeklődik Kya iránt.
Összejönnek. A srác látszólag kedves, látszólag megnyílik.
De azért előtűnik, hogy a megfelelő alkalommal mindenféle aggály és felelősségvállalási szándék nélkül lefekszik a lánnyal.
Aztán később agresszívvé válik, jön a kiosztott pofon, és Kya megerőszakolási kísérlete.
Ismerős? Verés, agresszivitás. Helyben vagyunk. Na, ez már Kya apjának modellje.
Megérkeztünk a realitásba a tündérmeséből.
Szerencsére nem sikerül az erőszak, mert Kya megvédi magát Chase-el szemben. Aki bosszút akar állni ezen, az egóját ért sérelmen.
Kya megöli, amit jogilag megúszik, mert nem tudják rábizonyítani.
Amiért nem valószerű a film:
A gyilkos, Kya személyében a legutolsó jelenetben derül ki, és így akarja igazolni a film erkörcsileg az emberölést:
A láptól nem idegen a halál. Számára nem feltétlenül tragédia. És bizonyosan nem bűn. Megérti, hogy minden élőlény megteszi, amit a túlélésért meg kell tennie. És néha ahhoz, hogy az áldozat életben maradjon, a ragadozónak meg kell halnia.
Ahogy ezt végigolvassuk a történet ismeretében, először így érzünk:
“Ja, ez igaz lehet. Hiszen a természetben élt Kya, az ottani törvényeket figyelte meg, és aszerint cselekedett. Megpróbálták bántani, ezért jogosnak érződik, hogy megvédte magát.”
Ezt azért érezzük így, mert örömmel akarunk hozzá kötődni, hogy valami pozitívat hozzunk ki a történetből, mert nem vagyunk állatok.
De nem kell elfogadnunk egy film kinyilatkoztatását sem, csak mert ügyesen felépített és igazolt keretbe helyezte azt. Talán állatok vagyunk?
Engem például zavar, hogy egy csomó filmben gyakorlatilag teljesen természetessé vált a gyilkolás.
Mintha egy afféle hétköznapi dolog lenne egy harcos társadalomban.
– Mit csináljak ma?
– Á, főzök egy jó kis rizottót. Vagy nem, inkább megölök valakit, és az este még belefér egy családi mozi is pihenésként.
Kb. ilyen az erkölcsi üzenete is a filmnek: Rajzolgatok, könyvet írok, mellesleg meg megölöm az engem zaklató férfit. Majd leélem az életemet a szerelmemmel, miközben semmi hatással nincs rám és a kapcsolatomra ez a szörnytett
Sőt, itt ez egy ideológiailag igazolt, teljesen helyénvaló cselekedet, ahogy a természetben a ragadozót ki kell gyomlálni a megfelelő egyensúly érdekében.
Hát, ez közel egy pszichopata gondolkodása.
Ha pedig már a realitások és tudatosság talaján vagyunk, akkor nem, nem valószínű, hogy ilyen traumák után egy normál házasságot leélt volna Tate és Kya.
Inkább valószínű, a folyamatos parázás az elhagyástól és a bántalmazástól.
Állandó önértékelési problémák stb.
A nagy fokú elzárkózás alap lenne Kya részéről, de ennél sokkal valószínűbb az őt bántalmazó társ választása, gyerekek esetén meg hirtelen azon kapja magát, hogy veri őket.
Ha nekünk is hasonló traumáink voltak, és nem értjük, nekünk miért nincs ilyen happy-end, akkor azért, mert gyakorlatilag ez egy mese.
Ilyen súlyos traumákkal egy élet munkája, hogy magunkkal és a környezetünkkel képesek legyünk harmóniába kerülni. Méghozzá szakember segítségével és rengeteg önmagunkon dolgozással.
Ennek fényében, vajon Kya-nak tényleg nem volt más esélye, mint az önbíráskodás? Senki nem segített volna neki?
Ő ezt tapasztalta, hogy úgyis cserben hagynák, úgyse segítenének. Neki kell intézkednie.
Pont ez az a viselkedés, ami nem fog elmúlni a beteljesült szerelem és házasság során sem. Ez gyerekkorban rögzült, és nagyon nehéz megszabadulni tőle.
E miatt valószínűleg végig konfliktus volt közöttük.
De mondhatná valaki, ha mese, akkor miért kell ezt így szételemezni, ahelyett, hogy egy szép történetnek hagynám meg (már ami a happy end-et illeti)
Mert a meséknek van üzenete, és valóság alapja, hogy tudjunk hozzá kapcsolódni.
Ez a mese a beteljesülés érzés ellenére tudat alatti feszültséget okoz, zavart és visszásságokat. Legalábbis bennem.
És remélem másban is, mert akkor az inspirál minket az elgondolkodásra, és akkor már nem fogyasztjuk el szűrő nélkül a felénk jövő benyomásokat és információkat.
Ugyanez vonatkozik a már említett szingliség hátulütőire. Amik előbukkanására tényleg jól kell figyelni, mert mélyen a képkockák és mondandó között van elrejtve.
Ugyanis a romantikus szerelem mindent leküzdő irrealitásába van belecsomagolva a valóság.
Kya-nak Tate-el felnőttként találkozásakor már senkitől sincs szüksége semmire.
10 év egyedüllétet nem lehet csak úgy levetkőzni, plusz az apja idejében kialakította a társaság iránti vágyának elfojtását.
Ezek jelentős párkapcsolati akadályok, ezért is az egész film egy óriási feszültséget teremt bennünk, hogy hát íme, itt van egy olyan lány, aki a szingli lét végletes példaképe, mégis megtalálta magának a tökéletes társat. És akkor nekem miért nem sikerül, holott én Kya-nál sokkal jobban helyemen vagyok?
Miért bennünk a feszültség? Mert a mű valójában azt sugallja, ha ennyire nehéz helyzetnél is megy a pártalálás, akkor nekünk meg pláne, és mennyi remény van. Pedig szingliként a tapasztalataink és a statisztikák pont ezzel szembe mennek.
Néhány ok erre.
Az a bizonyos szerelem…
Az ehhez hasonló filmek többnyire az úgynevezett romantikus szerelmet mutatják be, amiről egy külön cikket írok később.
Annak ellenére, hogy a romantikus szerelem természetesen létezik, az ilyen filmek szerint nem kell mást tennünk, mint várni az igazira, hisz velünk minden rendben van, csak még nem kerültünk sorra Ámor lottósorsolásán.
Iratkozz fel hírlevelünkre!
Ezzel a szerelmet többségében úgy festik le, mint ami csak úgy megtörténik.
Szinte mintha elszenvedői lennénk ennek a jelenségnek, kihagyva belőle a tudatosságot, annak alakítási lehetőségét, a saját életünk irányítását.
Pedig a szerelem nem csak megtörténik, hanem többségében a mi cselekedeteink alapozzák meg a következményeket.
Ennek a téves eszménynek a csomagolópapírjába rejtették el a számos ellentmondást és feszültséget. Legyünk ennek tudatában!
A szokásos záró gondolat: nekem se higgyétek el, amit leírtam, gondolkozzatok el rajta, nézzetek utána! Ehhez a linkeket lejjebb találjátok.
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Kiemelt képünk felvétel a filmből – Forrás: Shotdeck