PLEASANTVILLE

US, 1998, 125 minutes. Black and white/Colour.
Toby Maguire, Jeff Daniels, Joan Allen, William H.Macy, Reese Witherspoon, J.T.Walsh, Don Knotts.
Directed by Gary Ross

A television repairman with a mysterious ability transports brother and sister, David and Jennifer, into the actual world of a 1950s black and white sitcom called Pleasantville, which is David's favourite show. In this black and white world, they become Bud and Mary Sue Parker, turning into two of the children of the sitcom's central couple, Betty and George.

The world of the sitcom is limited to what is on screen (books have blank pages) and the values and morals are those of the proper 50s. David decides to go along with it all until he can get back home but Jennifer brings her 90s outlook and behaviour to the sitcom and seduces the captain of the basket ball team.

The brother and sister begin to transform Pleasantville with culture as well as with more knowing sexual behaviour. Some of the world turns into colour as do some of the characters. When Betty is coloured, she actually leaves home to live with the owner of the diner, Bill Johnson. He starts painting.

Meanwhile Bill remains black and white and the monochrome citizens attack the coloured characters and burn the diner. The mayor institutes laws to prevent people changing into colour.

However, David and Bill paint a mural which leads to a court case with special pleading for a fuller life so that everyone turns into colour. Jennifer is also transformed and wants to study literature so she stays in Pleasantville while David returns home to the present.

In 1998 and 1999 there were a number of movies from the US which took the world of television as their symbol for trying to understand the world of the 90s, of moral behaviour and choices, of authority and control, of voyeurism and manipulation. The way was led by The Truman Show where Truman Burbank, unbeknown to himself, had been watched his whole life by a vast public. In EdTV, Ed chooses to have his whole life televised. Jim Carrey's portrayal of Andy Kaufman in The Man on the Moon showed how in the performer and for the audience, reality and showbusiness intermingle.

Pleasantville also takes up the theme of the sitcom but looks back at the black and white external morality and values of the 50s and illustrates how things have changed in four decades and offers a critique of this simplistic world. Is the 50s a golden age, an Eden, of the American way of life? The message is that it lacked vitality and passion and that narrow conformism and ignorant innocence can become fanatical and destructive.

The movie was written and directed by Gary Ross, a provocative movie for the average audience. He is well served by an excellent cast, Toby Maguire who was emerging as a lead star and Reese Witherspoon who showed her versatility in such movies as Election and American Psycho. Joan Allen and William H Macy (Betty and George) are two of the US's best character actors.

1. A film of the 1990s? Media assessment of the American past on the verge of the millennium? A reassessment of American values? An example of back to the future? A piece of Americana?

2. The 1990s and the spate of films about television, the use of television, manipulation, images and mirrors of society, surveillance of individuals? A critique of the media? Artifice and reality? Reality shows?

3. The 1990s: the ordinary home, the problems, the absent father, the harassed mother, the truculent teenagers, self-centred? Jennifer, her concern about herself, antagonism towards David, flirting with the boys, the support of the girls? The reality of the boyfriend and his animosity towards her? David, his friends, the TV marathon about Pleasantville? His knowing all the answers to questions? The fight over the remote control for the program? The fight for control? This world in colour?

4. The appearance of the television man, his cheerfulness, the new remote, a magician, a god-like figure, his control? His believing that the past was good, enjoying the replays, criticising David for changing the set scripts? His anger and huff and going out? His reappearance? David not wanting to talk with him? The end, David’s return? Seemingly happy to know how well Pleasantville turned out – in colour? His initial wanting a black and white world?

5. Pleasantville 1958, black and white, spotless town, the American towns? Everything in place, the town hall, the shops, sodas and burgers, jobs, the way of dress, kids and school, sport, music – temperate? The circular streets, no rain? Everything sunny? The speech patterns and the kind of dialogue? Cute and whimsical? Expectations – a town always being like this and nice, people having respect? On the other hand, the ignorance and naivety discovered by David and Jennifer?

6. Pleasantville as perceived by the audience from a later decade’s perspective? Critique? Perceived by David and Jennifer? Their arrival, in black and white, becoming Bud and Marilu, relating to George and Betty, their life in the house, going to school, the huge breakfast and Jennifer’s reaction? Going to school, her criticisms, seeing Skip and the change of mind? David and his going to his job, befriending Bill? The way of life, ordinary, lovers’ lane, the sodas, basketball and everybody always getting baskets? The authority figures? No change or clouds?

7. Bill, nice, regular, Bud working with him, Bud supplying him with answers about routines and his difficulties in moving out of the routine, pleased with himself when he took some initiative? His looking forward to drawing at Christmas? His liking for Betty? Coming to the house, relying on Bud? Bud buying him the book, his being overwhelmed by the beauty and colour of the art tradition? His desire to paint? His moving into colour, painting, Betty visiting, his seeing her? His portrait of her in the window? Its being smashed? Sweeping up? Bud and Bill painting the mural, going to jail, in court, his apology and not wanting to hurt anyone? At the end on the garden seat with Betty?

8. Bud as the catalyst for change, a controlled personality, his being in black and white and not changing? Friendships, discussions with Jennifer and Skip, the other kids, Margaret bringing him the cookies? His helping Bill? Betty and providing the make-up? Taking Margaret in the car, the coloured blossoms? Lovers’ lane, attracted to Margaret? The rain and the storm? Playing basketball – and trying to miss the baskets and the repercussions on the possibility of losing? His relationship with George? The arguments with Jennifer – and her wanting to know why she was not in colour?

9. Jennifer and Skip, her attraction, the discussions, lovers’ lane, the burgers, the sexual encounter, the effect on Skip – and his being the first person to see colour, seeing the rose? The kids at lovers’ lane, the gradual transformation into colour, emotions colouring their lives? Giving dimension to black and white? Emotions, sex as a passion – and its being a symbol for change? The buying of the big beds? Explanations of sex, Jennifer explaining things to Betty, Betty in the bath, her change of colour? People making choices? Issues of free will? A permissive society – but an acknowledgment that people need choice?

10. Black and white and repression, the inner angers and passion, bursting out, the kids, Betty and Margaret, the lewd boys pursuing Betty and Margaret? Bud and his response, the punches – and his becoming coloured? The mob, the smashing of the windows, the burning of the books, the lynch mentality? George arriving home, bewildered, wanting his dinner? His inabilities to cook? The men, at the bowling alley, with the mayor, the ironing burn on the shirt? The mayor and his calling meetings, trying to cope?

11. Jennifer and her change, her reading, the books being filled in, sexuality, her observations on sex, her rejection of Skip? Having to study?

12. The kids, some in favour, some not, Skip and his expectations of Jennifer? Her thwarting him?

13. The books and their being blank, Bud telling the story of Huckleberry Finn, Jennifer reading D.H. Lawrence? Art? The coming of knowledge, inspiration? The reaction of burning the books? The rain – and the coloured umbrella?

14. Pleasantville, the attitudes of men and women in the 1950s, the men as providers, the women as supplying needs? Expectations? The women saying no? The repercussions for the men?

15. The town meetings, the mayor coming to see George, offering him membership on the town council? Betty and her fears for coming in because her face was coloured? The signs – no coloureds?

16. Bud helping Bill, the painting of the mural, people’s questioning, admiration, their being arrested, Bud in jail, George’s visit, bringing the olives – and his being hungry?

17. The court case, presided over by the mayor, no lawyers? Bill making his apology, not wanting to hurt anyone? The gallery with the coloured people? The mayor reading the list of colours, so specifically on the mural? Bud and his speech? His talking to George, getting him to look at Betty, to feel the hole in his heart, wanting her back, George turning into colour? Bud taunting the mayor, his anger, colour, Betty giving the mirror, his running? Everybody going out – and Pleasantville completely in colour?

18. George and Betty, the reconciliation, discussing risk, not knowing what would happen, the nature of change? For better or worse?

19. Jennifer and her decision to stay, to go to college? David and his going, Betty and Margaret and the gifts, going back through the television, the television man watching and satisfied?

20. Bud’s discussions with his mother, her reaching forty, her expectations? His affirming of her?

21. The overall effect of the experience of Pleasantville – an insight into America during the second half of the 21st century, traditions, change? Surface respectability and the shadow side within everyone and every community?