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Motifs and Archetypes
“Water is the commonest symbol for the unconscious. The lake in the valley is the unconscious, which lies, as it were, underneath consciousness, so that it is often referred to as the “subconscious,” usually with the pejorative connotation of an inferior consciousness. Water is the “valley spirit,” the water dragon of Tao, whose nature resembles water—a yang embraced in the yin. Psychologically, therefore, water means spirit that has become unconscious. So the dream of the theologian is quite right in telling him that down by the water he could experience the working of the living spirit like a miracle of healing in the pool of Bethesda. The descent into the depths always seems to precede the ascent.
Thus another theologian dreamed that he saw on a mountain a kind of Castle of the Grail. He went along a road that seemed to lead straight to the foot of the mountain and up it. But as he drew nearer he discovered to his great disappointment that a chasm separated him from the mountain, a deep, dark gorge with underworldly water rushing along the bottom. A steep path led downwards and toilsomely climbed up again on the other side. But the prospect looked uninviting, and the dreamer awoke. Here again the dreamer, thirsting for the shining heights, had first to descend into the dark depths, and this proves to be the indispensable condition for climbing any higher. The prudent man avoids the danger lurking in these depths, but he also throws away the good which a bold but imprudent venture might bring.”
Water Motifs in Lynne Ramsay's Films
Like John Boorman and other avowed influences such as Ingmar Bergman and Andrei Tarkovsky, Lynne Ramsay obsessively returns in film after film to a cluster of distinct but related motifs. Most of them involve water, directly (face washing, floor cleaning, lakes, drowning), indirectly (the bag over the face motif that is connected to drowning), or both (the recurrence of window panes with rain drops on them).
Her first feature Ratcatcher (1999) combines several of these at once. She returns to them at the end of the film, which also points ahead to the more ritualistic and ceremonial treatment of submergence in the later films Morvern Callar (2002) and You Were Never Really Here (2017).
Ramsay is aware of the work of Carl Jung and her friendphotographer Michael Woods (who gave her the book above) is a Jungian, but the films do not feel self-conscious. By rooting these dream-like motifs in a complex play with point of view (particularly evident in the opening and closing sequences of Ratcatcher and the opening of You Were Never Really Here), Ramsay is able to give the associations in her films authenticity and resonance.