In this sense, both the lawyer and judge are like outgrowths of the same personal decay that spawned Fascist Pink. I am crazy. Truly gone fishing. They must have taken my marbles away. For starters, the most damning thing she accuses her son of is leaving her, something that all children must do eventually. Some might claim that he is entering a plea of insanity into the trial record, and thus attempting to distance himself from his actions. In what is perhaps another slight against the British judicial system, the judge proceeds with his verdict without allowing the jury time for deliberation.
Despite the fact that the Judge has more lines in the song than any one character, both he and his verdict still remain a bit of a mystery for many Floyd fans. All valid points. While deus ex machina have a long and storied literary tradition, the very randomness of their nature as plot-solving devices can make them feel contrived and contradictory to the overall narrative.
To borrow from religion, a person is just as much Satan as he or she is Jesus, equally capable of good as much as evil. This is why the Judge seems to contradict himself and his own motives, often within the space of back-to-back lyrics.
Ultimately, his light and dark selves meet, resulting in the destruction of the defenses that have isolated him from both society as well as his true, whole self. Or will you take me home? I never had the nerve to make the final cut. The destruction of this one wall becomes another broken link in the vicious, circular chain of oppression and violence. With enough bricks and links gone, the social wall of prejudice will collapse and the circuitous cycle of injustice will be broken.
The scene opens to reveal Pink, now in the form of a faceless rag doll, sitting against his wall, awaiting the commencement of his trial. Even from the beginning of the sequence, one wonders why Pink is depicted as a harmless, relatively motionless doll in this, his most decisive moment. One theory holds that once he starts this process of self-judgment, he is unable to stop it. In other words, he is at the mercy of reliving and realizing his bricks. In a way, he still is the plaything of his bricks until he destroys them.
He has been created and shaped by the people in his life and the feelings he represses and so he is continually acted upon by these very factors until he finally acts.
The ensuing trial is depicted as a showy theatrical number much like it is on the album. The courtroom, complete with stage lights, is more of an arena than a house of law, just as the prosecutor is more like an actor than a lawyer, putting on makeup and dancing around the stage.
Once again, the social implications are fairly blatant, equating the judicial system with public spectacle mob spectacle, perhaps rather than a means of justice. Tossed around by the forces of his bricks, a leaf-turned-faceless-man-turned-back-to-leaf drifts into the darkness of his own psyche.
Whereas Pink once thought of himself as blown about by the ills of the world, it would seem he realizes that he is thrown about by his own wall, futilely caught like a leaf in its gusts. Though Pink comes to realize his accountability in their failed marriage, he still portrays his wife in the same negative way he does the other witnesses. After all, this is the brick that she created out of her infidelity.
For the darker, repressed side of Pink, women are either injurious through their immorality or oppressive through their neurotic guardianship. As Pink sings of his lunacy a second time, a faceless man falls through the sky, breaking it into innumerable shards and revealing the blackness underneath.
He is simultaneously imposing and comic, roaring his verdict like thunder while also literally talking out of his ass. However, this duality speaks volumes about the absurdity of both personal and societal isolation. After a life filled with oppression and corruption, Pink has finally been reborn whole, complete. So, at the beginning of the album you are listening to the Judge's sentence: exposing Pink before his peers. You stated that the schoolmaster and mother figures are both playing upon the idea of the innocence and individuality of Pink's childhood.
Also with the addition of the lyrics 'Toys in the attic' and all the rest of Pink's actual dialogue revolves around a very child-oriented basis. The rag-doll representation could simply be an extension of Pink longing for his lost childhood. The same with viewing the school master as a marionette. Both can be associated with youth. Also the representation of the wife could be reminiscent of his childood. The Worm, portrayed as an enormous bottom with legs, declares Pink guilty of the crime of showing feelings and hurting the people who love him.
The film sequence then changes back to the realistic scene it was during Stop, and is a fast-paced collage of all the things that contributed to Pink building the wall around him.
This cinematic technique shows the chaotic and disturbing nature of the negative feelings flowing over Pink, as it all slowly diffuses to a still frame of the wall. Suddenly, the wall breaks in slow motion, clearly showing each brick that Pink so carefully collected throughout his life, break apart from the. Get Access.
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