THE LIFE BEFORE HER EYES

US, 2007, 90 minutes, Colour.
Uma Thurman, Evan Rachel Wood, Eva Amurri, Gabrielle Brennan, Brett Cullen, Oscar Isaac, Jack Gilpin.
Directed by Vadim Perelman.

We have to pay attention to the art lecture that Uma Thurman gives on Paul Gauguin during this film. She asks her students what questions it is asking: about life and its meaning. She explains that his visual style seems to blend reality and the imagination. That is a helpful indicator of what is going on in The Life Before Her Eyes. When we listen to the lecture by the philosopher professor, we might realise exactly what is going on.

During the credits there are bright close-ups of flowers and this close-up (often extreme close-up) technique continues during the whole film. The images are very detailed and vivid.

Diana is a high school flirt with a seriously bad reputation, clever but avoiding studies for boys and the 'good life'. She is played with verve by Evan Rachel Wood. We also see Diana in her early 30s, married with a daughter, an art teacher who never left the town she grew up in, despite all her declarations of wanting to get out. However, she is haunted by a Columbine-like tragedy when a berserk young student shot dead many of the students and teachers.

The scenes of the massacre, both the close-up confrontation between the shooter and Diana and her friend, Maureen, in the school ladies' and in the panic outside, bring home the horrors and uncertainties of such a violent event.

Uma Thurman brings poise to the role of the older Diana even when she is fearful and paranoid about her husband and the safety of her young daughter. Eva Amurri (Susan Sarandon's daughter who looks and acts quite like her mother) gives strong support as the religious and principled Maureen.

When the audience realises what is happening and the nature of Diana's story, all the parts fit together quite satisfyingly.

A brief film, intended principally for a women's audience, but interesting because of the connection between the younger Diana and her rather different older counterpart.

1.The title, the evocation of death, the variation on a theme? Mysterious, mystical?

2.The target audience, female, identifying with Diana, both younger and older, with Maureen?

3.The history of the Columbine massacre, the evocation here? The deranged student, his motivations, cool calm, the gun, automatic? The massacre of the teachers, the students? The outside sequences, the students leaping from windows, the injuries, the medics, the police, the anxious parents? The effect? The close-ups, in the toilet, the contrast with the exteriors and the crowds? The insertion of the brief episode, the later fuller treatment?

4.The beauty of the visuals, the credits, the close-ups on flowers, the extreme close-up style? The details? The moods, the focus and attention? Real and imagination – and the lecture on Gauguin?

5.The structure: Diana, in herself, her age, with her mother, the friendship with Maureen, the other students in school, her reputation? The year passing, the strong friendship with Maureen? The massacre? Fifteen years later, the anniversary of the massacre, Diana, her family, living on her nerves, the structure going to and fro from the younger to the older Diana? The clues, the memories, sense of anticipation? The use of fast forwards rather than flashbacks? The final choice and the ending?

6.Diana young, her age, her family background, her mother, relationships, home? Friendship with Maureen? The relationship with Marcus? The issue of pregnancy, abortion? The effect and the break-up with Marcus? Talking with Maureen, sharing their lives, the name Emma? The professor and his talk, philosophy, the meaning of life and questions? The classes, Mr Mc Leod, the biology, the heart and the strongest organ, nerves? The classes, her grades, Mr Mc Leod and the extra essay, taking the test? The portrait of the younger Diana?

7.The contrast with Maureen, her Christian background, going to church, a girl of principles, her mother, chastity, her love for Nate, the dates? The friendship? Talking with Diana, swimming in the pool of the absent people, Diana trying out brighter clothes for her? The driving lessons? Talking straight to Diana, the issue of her being a slut? The argument, her telling the truth? In the car, the apology and Diana tricking her? Maureen’s hopes for a life in the town, family and children?

8.The teachers, the class, Mr Mc Leod, the skeleton and the jokes about it, the writing on the blackboard? His speech to the kids, his help for Diana? Seeing his death scene several times? Diana thinking she saw him in the future?

9.The massacre, the sounds and the girls hearing, the boy, Diana speaking with him the day before? His confronting the two girls? The death of Mr Mc Leod? The girls and their fear, weeping, his making them make choices, Maureen offering to die? Diana’s choice?

10.Diana fifteen years later, difficulties in sleeping, upset? Her husband the philosophy professor, his good news about giving the lecture? Her paranoia, suspicions of him in the street with a girl? Crossing the street, the accident? In hospital, brusque with her husband? Her love for Emma, the home scenes, in the car, taking her to school? The presentation of the nuns, their ‘Hollywood’ habit? Stern, the reasons for sending Emma to the Catholic school, Diana upset, Emma running away, discussions with the principal, chasing her in the woods, finding her? Her talking with her friends? Her reputation, classes, the students, art, Gauguin, imagination and reality? Her ordinary life, family, staying in the town? Discussions with Amanda? Their reminiscing about the past?

11.Diana’s death, her choices?

12.The potential, mistakes, a life that could have been lived but was lost?