Yeah, it was embarrassing. The eyes got all leaky a few times. Had to get my sleeve up to try to get rid of the evidence and get my composure.
Lars and the Real Girl ends a streak of frustrations for me at the theater [this was written October 28,2007] and was the first film to deeply move me in a theater since the early spring. It was such a beautiful film, filled with indeterminate cartharses. What I found most fascinating and moving about the film is that everything revolves around central metaphors with several different kinds of meaning there for different viewers (or the same viewer) to find resonant.
As is well known the film revolves around a lonely man named Lars (Ryan Gosling) and the sex doll that he is deluded into believing is his actual girlfriend, Bianca. Rather than trying to talk some sense into Lars, his sister-in-law and his brother [played by very sweet Emily Mortimor (Match Point) and Paul Schneider (All The Real Girls)] take the advice of Patricia Clarkson’s doctor character (The Station Agent, All The Real Girls) to play along with Lars’s delusion because he has created this relationship as a means of working through something emotionally. Soon more members of the community are encouraged to play along as part of helping Lars.
Without giving any more specifics away, the result is a moving, understated comedy that explores the role that projections and fictions play in our psychological lives. Lars’s delusion is narratively specific and so on one level is about mental illness and a fable about the healing powers of patience and thoughtful person-specific care. It’s about how helping people involves understanding them and opening yourself up to their reality and how each person’s journey and needs are radically different and inscrutable. There’s a bit of fantasy and idealism in this story, which is why I call it a fable, but there’s nonetheless an admirable hope and suggestion in it too. The film is about the ways that in an ideal world people would work with each other to address their unique needs, even when this involves going way out of their normal way and involves opening themselves up to seeing the world through each other’s unique eyes. It’s a wonderful, optimistic story of openheartedness towards a lonely, confused and conflicted man and his inanimate girlfriend.
But the film goes beyond this surface level at which we can distance ourselves from Lars as just a delusional man. His inanimate girlfriend upon which he projects a whole personality is a symbol for anything any of us might idealize and project our desires or fears into. At least in my case, I totally resonated with this theme of idealization and projection. I know I’ve treated a real live, moving, thinking woman the way that Lars treats an inanimate one—-namely, as a projection of my hopes, dreams, and fears seperate from who she might have herself been. And this isn’t just about women, this is about anyone or anything we turn into an imaginary ideal of goodness or threat or whatever, so that we can find ourselves through that.
One level on which this metaphor works is in helping us to relate to the meaning of art and fiction for helping us work through things. Lars’s use of narrative and fiction for coming to terms with emotions and problems he can’t articulate is really fascinating and illuminating with respect to the media of art. I found it fascinating throughout the film to think about the fine line between Bianca and the “real people” in the film. They’re all fake. Through our empathetic imaginative engagement with these fake people, into whom we project so much reality, including so many reflections of ourselves—our own fears, hopes, ideals, etc.—-we can therapeutically work through emotions and ideas we might not have prior been able to, or still be able to, articulate verbally and cognitively. Through art we empathetically connect to others and traverse emotional journeys, through projecting ourselves and our experiences into constructed narrative characters. Lars relates to Bianca like we relate to Lars and all the other fictional characters who help us escape reality a little while with the ideal result of coming back to it in the end, now more ready to deal with it.
I’m not even sure these are the only three levels to interpret the film, but I loved the experience of watching the film simultaneously from three such rich and personally meaningful angles.
Beyond the themes, let’s talk aesthetics. Ryan Gosling is a masterful actor. Between The Believer, Half Nelson, and now this film, I could not be any more impressed at his transformative powers and his communicative powers. He’s unbelievable and if he doesn’t get a nomination for an Oscar, there should be a riot.
The movie is also very funny. It’s not frequently funny but there’s not a forced joke. Going in I was a little wary of the premise and not up to seeing forced, obvious humor of an ongoing single joke stretched to 90 minutes. And wisely that’s not what they did. The film focuses on the characters and emotional truth and never pushes Bianca into ludicrous situations only for the sake of gags. The humor comes out of the charm of the situation. A line here and there, a scenario just naturally preposterous. Often a single scene would be on one level hilarious and silly and on the other moving at the same time, with the same aspects. It can all be taken as comedy and all be taken as moving and meaningful. It’s a perfect balance guided by an incredibly nuanced and careful script and perfectly real performances and direction.
Quite simply the very best film of 2007 that I’ve seen and I have seen a heck of a lot of them.