Joan of Cat (she/her) 😼<p>Most of the time, when I disagree wholeheartedly with mainstream film criticism, it's because of critics' remarkable lack of empathy and completely failure to understand how human beings function.</p><p>This morning I read a review about <em><a href="https://eldritch.cafe/tags/Insidious" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Insidious</span></a>: The Red Door</em> that argued that <a href="https://eldritch.cafe/tags/Dalton" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Dalton</span></a> <a href="https://eldritch.cafe/tags/Lambert" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Lambert</span></a>, the <a href="https://eldritch.cafe/tags/deuteragonist" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>deuteragonist</span></a> of the <a href="https://eldritch.cafe/tags/film" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>film</span></a>, "ruined the movie" and played a "non-character." Was Ty <a href="https://eldritch.cafe/tags/Simpkins" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Simpkins</span></a>' most recent portrayal of Dalton subtle and, in many ways, shut off? Yes. And if you take a moment to understand what that character has been through, you'll understand <em>why</em> Simpkins and director Patrick Wilson made that choice.</p><p>The ability to erase a full year of memory from someone's brain doesn't actually exist. <a href="https://eldritch.cafe/tags/Hypnotism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Hypnotism</span></a> isn't quite so effective in real life, and <a href="https://eldritch.cafe/tags/amnesia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>amnesia</span></a> tends to work in less exacting ways. This makes it hard to understand what it may be like for someone who had one full year of their formative years from their minds, but once you realize for what the final chapter of <em>Insidious</em> is a metaphor, you can start to understand where the characters are coming from when they behave in odd and unsympathetic ways.</p><p><strong><a href="https://eldritch.cafe/tags/Avoidance" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Avoidance</span></a></strong> is a major symptom of post-traumatic stress disorder (<a href="https://eldritch.cafe/tags/PTSD" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>PTSD</span></a>). PTSD keeps folks stuck in the painful cycles caused by the disorder by strengthening the <a href="https://eldritch.cafe/tags/anxiety" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>anxiety</span></a> and <a href="https://eldritch.cafe/tags/fear" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>fear</span></a> associated with it, and it does this by causing folks so much discomfort that they avoid stressful things in an attempt to make that discomfort go away. The sad thing is that avoidance prevents new learning from taking place, learning that could help the PTSD to heal by allowing the suffering individual to realize that pain is not a necessary consequence of experience.</p><p>The memory erasure in <em>Insidious: The Red Door</em> is a metaphor for avoidance in PTSD. <a href="https://eldritch.cafe/tags/Josh" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Josh</span></a> and Dalton push each other away at every turn, Josh by unfairly criticizing his son's behavior, and Dalton by cutting himself off entirely from his father. Both are behaving rationally. Although neither remembers the events that took place in <em>Insidious</em> Chapters 1 and 2, research has continually shown that <strong>the body remembers everything</strong>. This is why sexual abuse victims who cannot recall their abuse still recoil when spontaneously touched. They don't understand why they don't want to be around one another, but they feel deeply anxious and insecure around each other, and this drives them to avoid one another, which keeps them from developing a healthy father-son <a href="https://eldritch.cafe/tags/relationship" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>relationship</span></a>.</p><p>Dalton's missing year disturbs him intensely. It's made him sullen and depressed, but this isn't all we see of his character either. We see how much he loves art in the way that he passionately engages with both his art and with his art teacher Professor <a href="https://eldritch.cafe/tags/Armagan" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>Armagan</span></a>. He sometimes smiles when she speaks, and he looks at him with eyes that show how much he respects and idolizes her for her unique perspectives. And when she says, "Reach into your inner self and pull out the darkness," this is exactly what he does, knowing instinctively that this will help him to improve the skill that gives him life and motivates him to move forward despite everything.</p><p>This is also how he begins to learn about what happened to him during that lost year. It's the moment he stops avoiding the pain and moves towards it. It terrifies him, but he believes in Professor Armagan and in her teachings, and he passionately adheres to them despite the pain. As the film progresses, Dalton even seems motivated by the pain, recognizing at last that he will only learn the truth about that lost year and about himself by pushing forward, not by hiding from it.</p><p>Josh has a similar journey as he tries to figure out what keeps him apart from his son. Every step towards the pain causes him more distress, but he reticently pushes forward, learning more about his absent father and even reconnecting with his ex-wife, whom his avoidance had <em>also</em> caused him to drive away.</p><p>The end of the film encapsulates this entire concept perfectly when Chris, Dalton's first roommate, recommends to him that he destroy the painting of the Red Door and forget about it. Dalton, having learned his lesson, replies, "No. Forgetting it doesn't work. We need to remember. Even the things that hurt."</p><p>It's only by confronting the object of one's fear that one is able to defeat it. It's a powerful message, and one that is present throughout <em>Insidious: The Red Door.</em> And one that, again, was entirely missed by unempathetic critics.</p><p>I'm starting to notice I only ever agree with critics on technical criticisms, and that's unfortunate. Their choice to dislike things without ever questioning their own discomfort is what makes them so wrong about this film, and one wonders if maybe listening to this film's message might have taught them a thing or two about themselves also.</p><p><a href="https://eldritch.cafe/tags/filmCriticism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>filmCriticism</span></a> <a href="https://eldritch.cafe/tags/movies" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>movies</span></a> <a href="https://eldritch.cafe/tags/InsidiousTheRedDoor" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>InsidiousTheRedDoor</span></a> <a href="https://eldritch.cafe/tags/psychology" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>psychology</span></a> <a href="https://eldritch.cafe/tags/trauma" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>trauma</span></a> <a href="https://eldritch.cafe/tags/horrorFilm" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>horrorFilm</span></a> <a href="https://eldritch.cafe/tags/horror" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#<span>horror</span></a></p>