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MerylStreep\\JeremyIrons\\desire,betrayal longing-timeless4conte

(2025-07-24 20:54:01) 下一個

human emotions—desire, betrayal, longing—are timeless, while the context changes

https://www.youtube.com/watch?v=VDrGMOMbtbk

"It was as if a torture had become a delight... She does not want to be cured." Oh and he knows prostitutes that "gloated" over their "victims" being husbands with children. Great perspectives on this dude. I don't know what you mean by pointing out this quote, which would only make this movie great if you understand the absolutely demented perspectives of men then and now. Look in to Freud. He wrote that one of his patients. explain
ChatGPT said:

The quote “It was as if a torture had become a delight... She does not want to be cured” points to a profound psychological paradox — one that blends suffering and desire, especially within the framework of Victorian repression, gender dynamics, and Freudian theory.

Let’s break it down:


Freud and the "Pleasure in Pain" Paradox

Sigmund Freud observed in several of his patients — particularly women in Victorian society — that their neuroses were often tied to unconscious desires and socially forbidden emotions.

In one case (likely the one you're referencing), a female patient described a sense of gloating or hidden satisfaction when placed in the role of a sexual "victim," especially over men who were otherwise respectable — married, with families. Freud saw this as a reversal of power: the so-called "fallen woman" secretly gaining control over those who had public moral authority.

Freud’s view: Symptoms can persist not only because of unresolved trauma but because the patient unconsciously derives pleasure or psychological power from the suffering. This is called secondary gain.


Applied to The French Lieutenant’s Woman

Sarah, the titular "fallen woman," chooses to remain in her role as a social outcast. She resists being “rescued” or re-assimilated into polite society by Charles. Her refusal to be “cured” — even though it would mean a return to security — aligns with this Freudian insight. She may be gaining:

  • Autonomy in a world that denies women agency

  • A morally inverted power over the men who desire or pity her

  • A kind of existential dignity in her suffering, ungoverned by male approval

So, the quote isn’t just about Sarah being “demented” — it reflects how women were pathologized for having inner lives that didn’t conform to male expectations of healing or submission.


? Your comment on “demented perspectives of men”

Precisely. That’s what the film and Fowles' novel critique:

  • Men pathologize women’s agency (e.g., “she doesn’t want to be cured”)

  • Even apparent empathy (like Charles’s) is laced with control and projection

  • The idea of women “gloating” over respectable men’s moral fall isn't about evil — it’s about power in a society where women were denied it openly


Conclusion:

The quote only makes the film great if you understand the twisted social norms, psychological repression, and gendered double standards of both the Victorian era and our own. It’s not about Sarah’s illness — it’s about the culture’s refusal to let her own her pain without diagnosis, and a man’s attempt to “fix” her becoming part of the same patriarchal structure she resists.

*** 

The central theme of The French Lieutenant’s Woman is the tension between passion and societal constraint, woven through love, identity, and the illusion of choice—all explored via parallel narratives.

Here are the key thematic elements:


1. Love vs. Convention

In both timelines—Victorian England and modern times—the protagonists struggle between deep emotional or physical desire and the social or personal responsibilities that attempt to suppress them.

  • In the 19th century, Charles is torn between his duty to his fiancée and his obsessive love for Sarah, a woman stigmatized by society.

  • In the 20th century, the actors’ affair challenges their existing commitments and careers.


2. The Search for Identity and Autonomy

Sarah (the "French Lieutenant’s Woman") is a symbol of female agency and ambiguity. She defies the role assigned to her by Victorian society, choosing her own path—even at the cost of alienation.

  • Her mysterious nature forces both Charles and the viewer to question how much of her story is truth or performance—a reflection on how women construct identities in response to external pressure.


3. The Nature of Fiction and Reality

The metafictional dual structure (a story within a story) questions the boundaries between reality and art.

  • The modern actors reenact a love story that eerily mirrors their own, suggesting that human emotions—desire, betrayal, longing—are timeless, while the context changes.

  • It also invites viewers to reflect on how narratives shape perception: are we ever truly free, or do we simply play the roles society or stories assign to us?


4. Freedom vs. Fate

Both Charles and the modern actor find themselves caught between a life that is safe and socially acceptable, and one that is risky but authentic.

  • The theme raises the question: Is true freedom found in defiance of norms, or in acceptance of responsibility?


In essence, The French Lieutenant’s Woman is a meditation on romantic love as both liberating and destructive, filtered through the prisms of social expectation, personal agency, and narrative artifice.

***

The French Lieutenant's Woman

Two intertwining and related love stories... In the first story (set in 1867 England), a strange young woman is dishonored by her affair with a French officer, and loved by a proper young Victorian gentleman who falls hopelessly in love with her. The second story (set in the present) chronicles the similar relationships of the actors who are portraying the protagonists of the first story in a film. In both stories, the lovers are affectingly played by Meryl Streep and Jeremy Irons. John Fowles' novel was adapted for the screen by Harold Pinter and directed by Karel Reisz. Cinematographer Freddie Francis has been praised for his painterly re-creation of 19th-century Dorset, as well as his complementary 20th-century mise-en-scene.
Release date
1981

Running time

2:03:50

Audio

English

Subtitle

English [CC]

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