The construction is Pavlovian behaviorism, vs. Congreve ("Music has charms to soothe a savage beast").
The story is neither linear, nor non-linear, but circular, involving the 'positive stimulus' triggering memory.
Compare this to "The One" where one actor plays both a good character and his diametric opposite; here, Li flips the switch from a severely repressed boy-man to an attack dog and back, the switch and the suppressed memory embodied in a 'collar'. His point of view shots demonstrate visually that he has a child's attention span.
Mozart's 'Sonata No. 11 in A major' is the least engaging part precisely because it so simple and pleasant -- it's only there because it brings a smile to a child's face and resolves the circle. Likewise, Freeman is cloying.
His opposite, Hoskins, is asked to play several movie villains at once. He dispatches a pit fighter a la "Mad Max Beyond Thunderdome", and has complete power over Li, even though he is more loutish than Freddie Jones in "Elephant Man". He spouts Freud, although this has little to do with dreams; it has more to do with developmental psychology.
Some clever use of architecture for Li to win his fights -- the hired baddie is at a disadvantage in a tight-walled WC. Glasgow is also photographically redeemed since it was smeared with a serious case of the drearies in "Wilbur..."
The story is neither linear, nor non-linear, but circular, involving the 'positive stimulus' triggering memory.
Compare this to "The One" where one actor plays both a good character and his diametric opposite; here, Li flips the switch from a severely repressed boy-man to an attack dog and back, the switch and the suppressed memory embodied in a 'collar'. His point of view shots demonstrate visually that he has a child's attention span.
Mozart's 'Sonata No. 11 in A major' is the least engaging part precisely because it so simple and pleasant -- it's only there because it brings a smile to a child's face and resolves the circle. Likewise, Freeman is cloying.
His opposite, Hoskins, is asked to play several movie villains at once. He dispatches a pit fighter a la "Mad Max Beyond Thunderdome", and has complete power over Li, even though he is more loutish than Freddie Jones in "Elephant Man". He spouts Freud, although this has little to do with dreams; it has more to do with developmental psychology.
Some clever use of architecture for Li to win his fights -- the hired baddie is at a disadvantage in a tight-walled WC. Glasgow is also photographically redeemed since it was smeared with a serious case of the drearies in "Wilbur..."