The movie opens with "I saw something nasty in the woodshed." It is a Freudian reference. Freud originally thought such visions were manifestations of actual events that were so horrible that the memory was repressed. He later renounced that theory and decided that such dreams were manifestations of suppressed desires and emotions. The subject never actually sees what was nasty and the woodshed is not real, either.
Modern psychotherapists, for the most part with minimal training, have gone back to Freud's original theory, but the supposedly 'repressed memories" invariably are so far-fetched as to violate fundamental laws of physics. Ada Doom's memory, for example, would probably have a woodshed with many rooms, stairs both up and down, windows, etc., all fitting within the small exterior of the building. The "something" nasty would include people who may well have been dead at the time, or who were far away, or who never existed at all. The ax implies murder and human sacrifice, a manifestation of feelings that she was mistreated by her own parents (or maybe Robert Poste). The dark wood-stains and shadows imply blood. The interior of the woodshed is dark, mysterious and quiet, as of a horror lurking there -- a hidden truth that no one can face.
The movie, made during the height of 1990s witch hunt, parodies people who use memories of imaginary (or even real) events to control everybody around them. Interestingly, earlier productions were made during similar cultural periods. The 'something nasty' can represent anything from incest to fear of financial ruin to communism.
The nasty memories, probably of fictitious events, manifest themselves in the untidiness of the Starkadders. The farm is practically in ruins, despite the fact the Starkadders are wealthy. Everything is all loose ends, hidden secrets, unfinished business. Flora Poste represents the traditional Freudian therapist, one who sees through all the junk of the mind and starts putting things in order by forcing people to see the truth about themselves and their situation, to stop dwelling on events (which are imaginary anyway) of the past and which have absolutely no bearing on the present. The Starkadders, one by one, have a paradigm shift away from suspicion, secrecy, and guilt to productivity, optimism, and adventurousness. They no longer live in fear.
The movie ridicules fear and guilt. They are not just 'untidy,' they enslave us, tie us down, and keep us from reaching our full potential. Flora Poste represents the whole woman, idealized. She fears nothing for herself, despite the fact that she is the one character that actually has serious problems to deal with. Orphaned, virtually penniless, with an uncertain future, yet she could not care less. Unlike the miserable Starkadders who are helpless despite wealth, position and power, Flora Poste is the master of her own fate despite her lack of all the advantages the the Starkadders have.
The movie allows us to laugh at our fears and shortcomings, and encourages us to take control of our own destinies. What is not to like about it?
Modern psychotherapists, for the most part with minimal training, have gone back to Freud's original theory, but the supposedly 'repressed memories" invariably are so far-fetched as to violate fundamental laws of physics. Ada Doom's memory, for example, would probably have a woodshed with many rooms, stairs both up and down, windows, etc., all fitting within the small exterior of the building. The "something" nasty would include people who may well have been dead at the time, or who were far away, or who never existed at all. The ax implies murder and human sacrifice, a manifestation of feelings that she was mistreated by her own parents (or maybe Robert Poste). The dark wood-stains and shadows imply blood. The interior of the woodshed is dark, mysterious and quiet, as of a horror lurking there -- a hidden truth that no one can face.
The movie, made during the height of 1990s witch hunt, parodies people who use memories of imaginary (or even real) events to control everybody around them. Interestingly, earlier productions were made during similar cultural periods. The 'something nasty' can represent anything from incest to fear of financial ruin to communism.
The nasty memories, probably of fictitious events, manifest themselves in the untidiness of the Starkadders. The farm is practically in ruins, despite the fact the Starkadders are wealthy. Everything is all loose ends, hidden secrets, unfinished business. Flora Poste represents the traditional Freudian therapist, one who sees through all the junk of the mind and starts putting things in order by forcing people to see the truth about themselves and their situation, to stop dwelling on events (which are imaginary anyway) of the past and which have absolutely no bearing on the present. The Starkadders, one by one, have a paradigm shift away from suspicion, secrecy, and guilt to productivity, optimism, and adventurousness. They no longer live in fear.
The movie ridicules fear and guilt. They are not just 'untidy,' they enslave us, tie us down, and keep us from reaching our full potential. Flora Poste represents the whole woman, idealized. She fears nothing for herself, despite the fact that she is the one character that actually has serious problems to deal with. Orphaned, virtually penniless, with an uncertain future, yet she could not care less. Unlike the miserable Starkadders who are helpless despite wealth, position and power, Flora Poste is the master of her own fate despite her lack of all the advantages the the Starkadders have.
The movie allows us to laugh at our fears and shortcomings, and encourages us to take control of our own destinies. What is not to like about it?