Trust cinema Mohammad Hassan Khodayi wrote in Etemad newspaper: From the very beginning of the movie “Made”, the 50th birthday of the famous TV presenter Elizabeth Sparkle is associated with her withdrawal from the symbolic arena and she is considered one of the winners of the Oscar award at the behest of the utilitarian producer. As Harvey retires, it’s safe to assume that ending the rites of passage and returning to his heyday will be far and away for the waning star. to be
With a broken heart, facing the bitter reality that her career is over, Elizabeth comes to the conclusion that she has no other choice and must come to terms with the new situation and embrace retirement. But a street accident and hospitalization brings new hopes to Elizabeth. In this hospital, there is a young male nurse who, during the examination, puts a package in Elizabeth’s pocket that contains a tempting offer.
That middle-aged and old people can produce a younger version of themselves and experience youth and immortality by signing a contract and accepting the conditions explained by the company. After a lot of struggle, Elizabeth finally decides to sign the contract and test the “substance” on herself. In any case, reviving “beauty” and “immortality” for the abandoned TV presenter is vital and it will not be far from the mind to step into an irreversible and dangerous path so that it may be possible to return to the good old days. The company that provides the “material” supposedly belongs to the “dark web” space. One of the underground ways of dealing in the late capitalist world that makes it possible for someone like Elizabeth to push back against the hostile decisions of TV executives.
The creature that emerges from Elizabeth’s body turns out to be the kind of person TV executives love to hire. A girl who has beauty, youth and seduction and attracts millions of audiences with her femininity during popular morning shows. In other words, through the injection of “matter”, Elizabeth turns her body into a host so that a beautiful and young girl named “Sue” will enter the world, which is liked by the producers of popular TV channels.
The beautiful young girl takes the place of the retired presenter and becomes the “object of desire” of millions of morning aerobics viewers. Therefore, it can be said that “Sue” is the ideal face of “Elizabeth” and an exchangeable commodity in capitalist relations. A young man who replaces a middle-aged woman and by seduction, attracts more viewers and causes the economic prosperity of television network managers is undoubtedly a valuable commodity that cannot be overlooked by greedy entertainment managers. Coralie Farja, as a screenwriter and director, tries to visualize the Frankensteinian logic between two bodies and point out with a critical eye that medical knowledge can make human’s impossible dreams for beauty and immortality possible, but the question is at what cost and under what conditions In fact, how can one abandon medical ethics and multiply the human body and not be afraid of the consequences.
From this point of view, the movie “Made” has once again crossed the line of morality and draws a scary future with a scientific-fictional approach. But sometimes the result of this not so legal process is not what is expected. Although “Sue” is moving up the ladder quickly and is the undisputed star of TV entertainment programs and even performing a special New Year’s program, we see how sometimes during the recording and performance of the program, his body shows unusual symptoms. It shows that it is untimely and inevitable. This case can be like a barrier against progress, so both in terms of physical structure and moral approach, Su is caught in a crisis and most of the things he does add to the severity of the crisis. As an example, Sue’s perception of Elizabeth’s body is actually wrong and causes harm.
Let’s not forget that the condition for the continuation of this game of life and death is that the parties take care of its body and follow medical instructions. Even though from the beginning of the reproduction process, both bodies take care not to cause any problems, but this balance eventually goes out of order and creates calamity. This problem has a relatively simple explanation: the expectation that a young girl like Sue has from life is different from the perspective that a middle-aged woman like Elizabeth has drawn for herself. Therefore, it can be seen how “Sue” consumes Elizabeth’s body like a parasite and causes her organs to deform. Sue knows that the condition of her survival is the survival of Elizabeth, who is constantly preying on her.
Sue’s approach to the host’s body is predatory and robs Elizabeth of the possibility of body reproduction. Something similar to capitalists in underdeveloped societies who, when they come to power, consume natural and non-renewable resources as much as possible and cause the territorial death of the people of that region. But Elizabeth’s approach to Sue’s extreme consumerism is a kind of resistance, and perhaps it can be said to be cynicism. For example, when Elizabeth’s disfigured body wakes up and does things like binge eating, messing up the apartment, and sticking newspapers to the windows that reflect Sue’s TV show posters, you can understand that she is doing these things out of desperation. has hit In this way, Elizabeth wants to be an obstacle to Sue’s unbridled consumerism, or the young and beautiful version of herself.
On the other hand, Sue reacts to Elizabeth’s mischief during the times that belong to her and consumes her body more than ever and shakes the foundations of this life dependent on another body. The film “Maade” brilliantly shows that the multiplied body cannot transmit its memories and that each body has its own social identity. The man who answers the phone of “Made” company, constantly explains that both of them belong to the same person and should get along, in response to the questions raised by Elizabeth and Sue regarding unexpected events, but the film’s narrative contradicts this. displays In other words, even though these two bodies are biologically dependent, they compete with each other for some matters and interests and reach the point of destruction. The climax of this issue occurs in a scene where both bodies, when awake, start a hand-to-hand fight over the issues that have arisen, and each of them struggles with all their strength to eliminate the other one from the field and seeks to eliminate them. Physically, the opposite party comes out. In the end, the death of Elizabeth’s body causes the collapse of Sue’s body structure.
Su takes refuge in the “matter” and reproduces itself, and the result is the birth of a monster worse than the body. The monster goes to the New Year’s telecast with the same terrible awe and destroys everything. A creature that is messed up by the reproduction of the body is somehow to the bottom of that dangerous logic that the idea of reproduction of bodies will create. A creature that borrows things from every person and has no equal in ugliness as a self-ritual creature. Coralie Farja, along with Demi Moore and Maggart Guglie, add a grotesque taste to beauty and immortality and warn about the future of mankind under the supervision of medical apparatus.