Approaching ‘Being John Malkovich’ using Freud’s theory of Psychoanalysis
Psychoanalysis is usually referred to the theory of the mind, which was developed by Sigmund
Freud. His theory has and continues to impact our culture; his theories have influenced others such
as Laura Mulvey.
Laura Mulvey, a British Feminist, was heavily influenced by Freud’s theory, that she built her theory
of ‘male gaze’, in popular cinema, around it. ‘Male gaze’ simply means that films represent women
as sexual objects and are therefore in some way all films with women are directed at men. Looking
at ‘Being John Malkovich’, Mulvey’s idea of the gaze as scopophillic – “taking other people as
objects, subjecting them to a controlling gaze” - is clearly evident. An example of this is when
different characters enter the portal, which leads to Malkovich’s mind; it looks like a peephole which
gives the portrayal of a “controlling gaze”. It is through this portal that individual characters can live
out their wishes or desires that have been supressed by
the super ego and ego.
Back to Freud: Freud put forward a new dynamic model of the mind/psyche which consists of three
levels: unconscious (id), preconscious (super-ego) and conscious (ego). The id seeks immediate
gratification of wishes and desires, which are different to the individual. These wishes and desires
are controlled by the super-ego which strives for perfection and creates a difference between right
and wrong. The super-ego houses thoughts that are at the back of our mind for example if someone
were to mention the word tree an image of a tree is brought forward from the preconscious into the
conscious. Lastly, the ego ensures that the impulses from the id can be expressed in a manner
acceptable in the real world.
‘Being John Malkovich’ directed by Spike Jonze, is an exploration of the mind – this is what Freud
dedicated his work and research to. Using Freud’s theory of Psychoanalysis on film the audience can
gain an understanding of the individual characters, the intentions of the producer and it engages the
audience with their own unconscious.
In this particular scene, Craig, the main character, has taken his show to the streets and it isn’t what
some people might call a ‘typical or ordinary’ puppet show. This is because he is portraying the love
affair between Heloise and Abelard, a nun and priest in medieval France. The puppets stand in
separate rooms and their voices are narrated by Craig and Lotte, his wife.
Circled on the right is a young girl who has
shown interest in the puppet show by leaving
her father’s to spectate. Using Freud’s stages
of development, the latency stage seems
fitting for this young girl because firstly she has shown independence by watching the puppet show
by herself.
This screenshot is showing the intimacy
between Heloise and Abelard. Using Freud’s
theory one could say that Craig uses his puppet
shows as a way for his id to reveal itself.
Once the father realises the
inappropriateness of the puppet show,
he punches Craig on Heloise and
Abelard. The father can be seen as a
representation of the Super-ego/Ego,
using psychoanalysis, trying to
suppress Craig’s id. The punch could
symbolise the pushing back down of
the id to where it’s supposed to be – in
the unconscious – and a warning that
Craig’s desires and wishes are not
socially acceptable.
https://www.youtube.com/watch?v=GK19zONpd04