{"id":139,"date":"2017-10-15T00:14:34","date_gmt":"2017-10-15T04:14:34","guid":{"rendered":"http:\/\/sites.williams.edu\/f18-engl117-01\/?p=139"},"modified":"2017-10-15T00:25:57","modified_gmt":"2017-10-15T04:25:57","slug":"a-film-to-transform-you-eternal-sunshine-of-the-spotless-mind","status":"publish","type":"post","link":"https:\/\/sites.williams.edu\/f18-engl117-01\/uncategorized\/a-film-to-transform-you-eternal-sunshine-of-the-spotless-mind\/","title":{"rendered":"A Film to Transform You: Eternal Sunshine of the Spotless Mind"},"content":{"rendered":"

Can a movie be a great work or art, or does its format prevent it from reaching the same heights as great works of literature? Eternal Sunshine of the Spotless Mind <\/em>is a movie that confronts an issue most will face in their lives, the excruciating process of separating with someone who previously completed you. Eternal Sunshine <\/em>shows the introspective viewer the rewards yielded from confronting your past, and the costs of blocking your memories. Eternal Sunshine <\/em>accuses apathy as the ultimate obstacle for human happiness. It is an obstacle that disguises itself in short-term bliss, but produces long-term suffering. Eternal Sunshine <\/em>critiques apathy through its protagonist Joel Barish, and side character Mary Svevo. Each of these characters deals with their painful separations in the same way. They choose to permanently erase their partners from their memories. This act, literal in the movie, represents the process most individuals undergo after a relationship: shredding pictures, treating their old partner as strangers on the street, and pushing down memories. The difference between the characters in Eternal Sunshine <\/em>and the ordinary individual, is that they realize their happiness won\u2019t come by forgetting what they once had, but by reflecting on it. From all these valuable transformations of self Eternal Sunshine <\/em>exemplifies, it proves itself to be \u2018great work of art\u2019. Eternal Sunshine <\/em>provides a shining example that movies can match great works of literature. Eternal Sunshine <\/em>takes advantage of similar elements used in writing, such as dialogue and symbolism, but it also incorporates elements from its own media, such as music, surrealist scene transitions, lighting, and costuming to reinforce its message. But, it is mostly through Eternal Sunshine\u2019s <\/em>characters can the average person can hope to overcome the temptation blissful ignorance has to offer, and see that they live their lives to happier more fulfilled ends.<\/p>\n

A good place to start is the beginning. Relatable, working man protagonist Joel Barish, wakes up in his barren apartment. We can immediately tell Joel isn\u2019t in a happy man, for the audience looks at Joel through an aggressively blue filter. Slow, lonesome piano music accompanies him out the door to his car, which has been badly scraped. Joel only groans, sticks a passive aggressive \u201cThank you!\u201d note on the car next to his, and then drives off to work. Joel then begins his internal monologue. The tone of his voice drips with sadness as he reads from his diary entry. It\u2019s Valentines day \u201ca holiday invented by greeting card companies to make people feel like crap\u201d (Eternal Sunshine). But Joel makes a bold move; he ditches work and takes a train out to the beach where he begins to cure his sadness.\u00a0 \u00a0 \u00a0 \u00a0 \u00a0\"\"<\/p>\n

Already from this first scene Eternal Sunshine <\/em>exemplifies the movie medium and sets its tone to be anti-industrial. Along with the blue filter, the objects in the first scene are overwhelmingly of a cool hue. In addition, the viewer is hit by the bluesy piano backdrop, and then Joel\u2019s sad, sad voice weeps out of the speakers. Eternal Sunshine <\/em>is taking advantage of senses literature just can\u2019t hope to stimulate. Through the auditory and visual interplay of this dismal cinematography, the audience feels depressed with Joel. The color blue and the slow music have strong cultural associations with feelings of sadness. These associations subconsciously enter the viewers thoughts and feelings. Joel\u2019s voice then enters their mind, triggering them to empathize with him, and to feel his sadness alongside him. This raises the stakes for the movie, for Joel\u2019s quest for happiness is no longer his own, but also the viewers. Joel\u2019s eventual transformation into a happier human has become more potent, for it is shared with the viewer. Thus, Eternal Sunshine <\/em>proves that it can insert its audience into its characters as well as any classic piece of literature. Furthermore, Joel\u2019s flight from work takes Eternal Sunshine <\/em>away from the destructive philosophies of popular culture. These philosophies prescribe hard work, the latest Ford F-150, and addictive burgers as the key to human happiness. A setting where the path to happiness is found through the explorative introspection, and not through distractions and indulgencies is the foundation for any great work of art hoping to help our humanity.<\/p>\n

The destination of Joel\u2019s great escape is the beach. He walks alone except for the sad blue filter and piano music which accompany him. He eventually sees Clementine on the beach staring into the ocean, but doesn\u2019t seem to recognize her. She\u2019s costumed in a bright orange hoodie, a color that contrasts the overall cool hues of the Eternal Sunshine <\/em>has presented so far. The orange hoodie acts almost like a beacon, for it provides an early hint to the audience of where Joel\u2019s understanding of his happiness might be found. These visual cues pop up to the audience again and again throughout the beginning scenes. Joel leaves the beach, and enters the restaurant leaving behind the sad music, but taking with him Clementine. He continues to the train stop, and with that stops his depressing inner monologue, but follows him again is Clementine. Now, Joel finds himself on the train, and the audience finds the blue filter no longer present. He draws a sketch of the train car, which would be otherwise colorless, if he hadn\u2019t markered in the fluorescent orange hoodie on Clementine, who sits a few seats down. Then Clementine hops over to Joel and in comes a playful brass section. Eternal Sunshine <\/em>uses cinematic elements to draw the audience\u2019s feelings gradually from a state of sadness to happiness. From this sensory guide, the audience is able to get a brief glimpse of the path to happiness. But, it takes Eternal Sunshine\u2019s <\/em>uses dialogue and its character transformations to reinforce this guide.<\/p>\n

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Joel and Clementine exit into the rainy streets of Montauk New York, take shelter in Clementine\u2019s apartment, and begin to talk. They immediately engage in a dialogue exploring the how they live their lives.<\/p>\n

JOEL: My Life isn\u2019t that interesting. I go to work. I come home. I don\u2019t know what to say. You should read my journal\u2026 I mean, it\u2019s just blank<\/p>\n

CELMENTINE: Really? Does that make you sad? Anxious? I\u2019m always anxious I\u2019m not living my life to the fullest. (Eternal Sunshine)<\/p>\n

Already the movie is criticizing apathy. Clementine is constantly thinking, and considering how to make her life better, while Joel is just consumed in the stresses of work, and would rather live a distracted life than a fulfilled one. Eternal Sunshine <\/em>shows the viewer Clementine is the happier of the two. When she talks about herself she is confident in her qualities. In contrast, when Joel talks about himself he doesn\u2019t even know what to talk about. He barely even knows himself. A short while after this exchange Joel excuses himself saying \u201cI have to get up so early tomorrow\u201d. But Joel doesn\u2019t leave without Clementine\u2019s number, and soon after returning to his desolate, depressing apartment he realizes what he has to do. He calls Clementine back. They stay up all night, travelling down to the frozen Charles River, and Joel\u2019s sadness begins to break away. By forgetting his obligation to work, he\u2019s had one of the happiest nights of his life, and met a woman who might help him out of his sadness. From all this, the stage has been set for the real revelations and the real transformations to occur.<\/p>\n

From Joel\u2019s extraordinary first date the movie dramatically cuts to him weeping while driving. The steady melancholy bass from \u201cEverybody\u2019s Got to Learn Sometime\u201d by Beck is playing on cassette through the car radio, and the blue filter is turned back on. Joel chucks the cassette tape out the car window, and then his tears stop. This symbolic act shows to the audience the frame of mind Joel\u2019s in. He\u2019s not ready to learn this time; he\u2019d rather reject the painful memories of his relationship then take the time to go through the sorrowful, yet self-developing reflection process. This is a common human flaw, choosing to forget rather than to reflect. But Joel\u2019s forgetfulness reaches what the common person could only possibly dream of. His apathetic condition is exacerbated by the discovery of Lacuna inc., a company offering to erase any sad or traumatic memories from a person\u2019s mind to give them the chance to \u201cmove on\u201d. Through this science fiction aspect of the film, Joel is able to take the extra step most people wish they could make. He\u2019s able to totally forget is past, and supposedly get a \u201cfresh start\u201d. But, over the course of the movie Joel\u2019s mindset will change, and act as an example for the viewer that this is not the right course of action.<\/p>\n

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Eternal Sunshine <\/em>is best able to change its audience\u2019s mentality through Joel transformation. He enters the mind-erase procedure determined become blissfully ignorant towards his past. The procedure begins with Joel emptying out his apartment of everything that vaguely reminds him of Clementine. The result is the apartment is left barren, and devoid of all personality. One character comments: \u201cThis place is a dump\u2026 well not a dump, just sort of plain, uninspired\u201d (Eternal Sunshine). Joel had been with Clementine so long, and so intimately that his person, his sense of self, had become entwined in hers. In forgetting her, he forgets a part of himself. This gives the audience a peak into the costs of the procedure. Even while Joel is getting screened for the procedure the doctor admits that \u201ctechnically speaking the procedure is brain damage\u201d (Eternal Sunshine). Joel is essentially destroying himself, by destroying his memories.<\/p>\n

The audience experience\u2019s the process from two settings, within Joel\u2019s mind, and within his apartment (where the Lacuna technicians operate). Throughout the process Eternal Sunshine <\/em>employs lighting changes, an elaborate set of surrealist scene transitions, and present a foil to Joel\u2019s changing character, Mary Svevo. Using the scene transitions Eternal Sunshine <\/em>shows the brutal nature of the mind wipe process, and using the lighting shifts it shows the transformations of character Joel undergoes. During the beginning of the process Joel starts with his most recent memory; the memory of him Clementine breaking up. Joel gets to experience the last conversation they had, and he gets to maintain the mentality that he\u2019ll be happier once he forgets it all. \u201cLook at it out here. It\u2019s falling apart. I\u2019m erasing you Clementine, and I\u2019m happy\u201d (Eternal Sunshine) But is Joel really happy with it?<\/p>\n

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As previously established, the color blue follows Joel in moments of sadness and regret. As these scenes unfold, Clementine is silhouettes by blue light as she leaves his apartment for the last time, and blazing blue streetlights illuminate the night as Joel pacing back and forth on the sidewalk. From Joel on the sidewalk, the camera pans suddenly to Joel facedown on the street. Joel\u2019s body violently jerks up, and all of a sudden, he\u2019s sitting on his coach with Clementine eating Chinese food. This aggressive transition serves to show the audience that Joel is not in control of the process. His apathy towards the past has swept him up, and has begun to wipe out important memory after memory.<\/p>\n

In demolishing these poignant memories Joel is demolishing defining moments of his life. The memory of a morning conversation between him and Clementine is a perfect example.<\/p>\n

CLEM: You don\u2019t tell me things Joel. I\u2019m an open book. I tell you things. Every damn embarrassing thing.<\/p>\n

JOEL: Constantly talking isn\u2019t necessarily communicating.<\/p>\n

CLEM: I want to know you Joel\u2026 I don\u2019t constantly talk. People have to share things. That\u2019s what intimacy is. I\u2019m really pissed that you said that to me. (Eternal Sunshine)<\/p>\n

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Before this conversation goes sideways the lighting is neutral, but as soon as Joel\u2019s insecurity is revealed a spotlight hits him. Eternal Sunshine<\/em> uses spotlighting in this scene, as well as others, to indicate important moments of change for Joel. By reliving this conversation, Joel is able to reflect on his fears and flaws. One of the reasons Joel and Clementine\u2019s relationship sank was his fear of intimacy, and his lack of assuredness towards his self. But, through this memory Joel can hope to face, deconstruct, and understand those flaws about himself. Too bad he\u2019s chosen to erase them, and has essentially preserved traits that imped his ability to form meaningful connections with others, and subsequently his happiness. This same use of spotlighting is repeated, but to greater effect. When erasing the memory of Clementine and him lying on the Charles River together. There Joel realizes something: \u201cI could die right now Clem. I\u2019m just so happy. I\u2019ve never felt that before. I\u2019m just exactly where I want to be\u201d (Eternal Sunshine). At this moment Joel realizes he\u2019s only ever felt true happiness when he was with Clementine. Like many others throughout human history, Joel discovered the liberation and the salvation in finding someone who completes you. And, from reflecting on that memory before it\u2019s erased, Joel changes his mind. Eternal Sunshine <\/em>hits Joel with that familiar spotlight, for he\u2019s a changed man now.<\/p>\n

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He wants to call off the operation. He throws he\u2019s arms in the air, begging like a man begging to God to stop the procedure. From his relationship with Clementine Joel learned how to feel. He experienced the world in its fullest, and from that experience he was utterly satisfied, and utterly happy with his life. He\u2019d transformed himself into a happy human being. Now he\u2019s about to erase it all, and he\u2019s afraid. This heartbreaking realization Joel makes hits the audience hard. Throughout the movie Eternal Sunshine <\/em>has guided the readers emotions, sympathies and realizations to follow Joel\u2019s using precise cinematographic elements. As Joel understands what made, and makes him his happiest self, so does the viewer. Joel\u2019s transformation transforms the viewer. The appeal of becoming numb to one\u2019s past is destroyed by Joel\u2019s character transformation. And, Eternal Sunshine <\/em>further proves to the viewer the catastrophic consequences of living with the idea that ignorance somehow equals bliss through Mary Svevo\u2019s character.<\/p>\n

With Mary, Eternal Sunshine <\/em>is able to present the arguments advocating for the blissfully ignorant, and then subsequently refute them. She occupies the technician setting during Joel\u2019s memory wipe. She envies Joel is wiping his memory, and \u201cprofoundly\u201d quotes Freidrich Nietzche: \u201cBlessed are the forgetful, for even they get the better of their blunders.\u201d<\/p>\n

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But how true does this tightly packed \u201cinspirational\u201d message prove to be? Joel has shown that the forgetful absolutely do not get the better of their blunders. By forgetting his follies and flaws, Joel loses the opportunity to correct himself, or, in other words, to get the better<\/em> of his self. The mentality Mary holds is best summed up by thinker Mathew Arnold: \u201cThey should think it enough to follow action for its own sake, without troubling themselves to make reason\u201d (Arnold 35). What Mary is doing by quoting Nietzsche is being apathetic. She believes her life will just unfold in front of her, and if she makes a mistake in her actions or decisions, well then there\u2019s nothing to do about it except try to forget. But, as Joel has shown, this mentality is exceptionally destructive, especially towards one\u2019s happiness, and sense of self. Your sense of self is invested in your mistakes and how you respond to them. If you don\u2019t respond to them at all, not only do you make your self meaningless, but you also destroy your chances at happiness. As Arnold describes, you must reason out your actions, you must reflect on them as Joel has, and transform yourself for the better. If the viewer wants to strive for perfection, they must act as Joel has acted and become reflective, not apathetic. Also, from Mary\u2019s reliance on neatly packaged quotes Eternal Sunshine <\/em>exposes another wrong to the viewer. The pursuit of happiness is not achieved through quick little epithets of inspiration wisdom. If the viewer hopes to achieve \u201cperfection\u201d they must study comprehensiveness that great works of art have to offer. A sentence has no revolutionary power. A viewer, or reader, must invest themselves in the characters, and elements of a great work of art, and transform with those character if they at all hope to reconstruct their deconstructive mentalities.<\/p>\n

Ultimately Mary comes around to discover her mistake. It\u2019s revealed to her that she had the operation done when she tries to reconnect with the man she erased. She hates herself for erasing her memory, realizing just as Joel realized, that she was truly living her life, truly happy, and truly a human being when she was with that person. Thus, again does Eternal Sunshine <\/em>advocate for reflection over apathy.<\/p>\n

Eternal Sunshine <\/em>is as a must watch for anyone struggling to come to terms with their past, just as Siddhartha <\/em>is a must read for anyone struggling to discover themselves. Eternal Sunshine <\/em>is uniquely a great work of art. It holds fast in opposition towards the wave of industrial distractions, and fights to prove itself with its expertly used cinematographic elements. Through the medium of film, Eternal Sunshine of the Spotless Mind<\/em> performs as well as any piece of classic literature. It ties its audience to its characters, and takes them on a journey of self-reflection and transformation that\u2019s ultimate destination is happiness.<\/p>\n

 <\/p>\n

Works Cited<\/p>\n

Arnold, Matthew, and Jane Garnett.\u00a0Culture and Anarchy<\/em>. Oxford University Press, 2009.<\/p>\n

Gondry, Michel, director.\u00a0Eternal Sunshine of the Spotless Mind. 2004.<\/p>\n","protected":false},"excerpt":{"rendered":"

Can a movie be a great work or art, or does its format prevent it from reaching the same heights as great works of literature? Eternal Sunshine of the Spotless Mind is a movie that confronts an issue most will face in their lives, the excruciating process of separating with someone who previously completed you. … Continue reading A Film to Transform You: Eternal Sunshine of the Spotless Mind<\/span> →<\/span><\/a><\/p>\n","protected":false},"author":1733,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-139","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"acf":[],"_links":{"self":[{"href":"https:\/\/sites.williams.edu\/f18-engl117-01\/wp-json\/wp\/v2\/posts\/139","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.williams.edu\/f18-engl117-01\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.williams.edu\/f18-engl117-01\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.williams.edu\/f18-engl117-01\/wp-json\/wp\/v2\/users\/1733"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.williams.edu\/f18-engl117-01\/wp-json\/wp\/v2\/comments?post=139"}],"version-history":[{"count":3,"href":"https:\/\/sites.williams.edu\/f18-engl117-01\/wp-json\/wp\/v2\/posts\/139\/revisions"}],"predecessor-version":[{"id":162,"href":"https:\/\/sites.williams.edu\/f18-engl117-01\/wp-json\/wp\/v2\/posts\/139\/revisions\/162"}],"wp:attachment":[{"href":"https:\/\/sites.williams.edu\/f18-engl117-01\/wp-json\/wp\/v2\/media?parent=139"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.williams.edu\/f18-engl117-01\/wp-json\/wp\/v2\/categories?post=139"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.williams.edu\/f18-engl117-01\/wp-json\/wp\/v2\/tags?post=139"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}