LARS AND THE REAL GIRL
US, 2007, 106 minutes, Colour.
Ryan Gosling, Emily Mortimer, Paul Schneider, Kelli Garner, Patricia Clarkson, Nancy Beatty.
Directed by Craig Gillespie.
Most reviewers (and some internet bloggers who really like the film) offer warnings not to be put off by any film synopsis that readers come across. This review would offer the same advice, a case of not being put off by descriptions of ‘what’ the film is about but checking on the ‘how’ it is done.
This does give a reviewer some space to say that the film is about a socially undeveloped young Midwestern man who buys a lifesize doll (called Bianca and who comes with her own back story of being a Brazilian teacher), presents her to his brother and sister-in-law and proceeds to relate to her as a real person, always within the proper bounds of behaviour, but talking with her, telling others what she is saying and always being most attentive.
Clearly, this kind of film has the potential to be odd at the least and offputtingly bizarre at the most – the French actually did make this kind of bizarre film in the 1970s called Lifesize with Michel Piccoli. However, this is a film which can be recommended to a wide audience.
Ryan Gosling has shown that he is a versatile actor in such films as The Believer, The Notebook, Fracture and Half Nelson. Here he makes what might be a rather unbelievable character credible. Lars lives near his brother Gus (Paul Schneider) and his wife Karen (Emily Mortimer) but stays within himself, resisting Karen’s efforts to have him over for meals, has very few social graces even though he is polite. He goes to his local Lutheran church. He goes to work. And that is about it. Yet, everybody warms to him and is concerned about him.
This is particularly the case with the arrival of Bianca. Once Gus and Karen have got over their shock and allowed Bianca to stay in their spare room, Karen providing clothes, the word gets round. This is where the film enters the realm of fantasy – in the sense that everybody is kind, understanding, plays along with the make-believe in a way that, unfortunately, most people would not. Bianca is welcomed at the hairdresser’s, at the church (as the minister asks a group, ‘What would Jesus do?’) and the school board.
The reason for all this is that the doctor (a sympathetic Patricia Clarkson) tells Gus and Karen that Lars has a mental illness. He is suffering from a delusional disorder. And the screenplay is at pains to let the audience know something about the condition (Gus googling it, others discussing it). The doctor urges them to accept Lars’ behaviour and to accept Bianca. In the meantime, she has informal sessions with Lars where he is confident in opening up and revealing his feelings and, especially, his inability to let anyone touch him physically. His recounting of Bianca’s story parallels his own life.
Without going into detail on the progress of Lars’ therapy because it is better to experience it along with Lars, it should be said that this is a film which shows the potential for community to combine and contribute to the therapy and healing of someone in need rather than ridiculing or ousting that person because they are different. In fact, Bianca has a good effect on more of the townspeople than Lars.
So, a film about a shy and awkward young man and a lifesize doll? This one is recommended for its humanity.
1.The impact of the film? Critics praising it? The impact of the synopsis? The reality?
2.The north Midwest, the town, the winter season, homes, church, offices, school, doctors’ surgeries? An authentic atmosphere? The mood and the musical score?
3.The title, the focus on Lars, on Bianca, their relationship? The comment on real in the title?
4.The information about delusional disorder, the impact on the individual? The impact on the audience watching his behaviour? On Karen, on Gus? On the people of the town? Men and their dismissing it? Condemnations of weird? The importance of understanding the illness, finding the proper treatment, the doctor and handling the situation, the nature of therapy, collaborating with the delusion or not? The effect on those collaborating? The effect on the person suffering from the disorder? Helping them to come to terms with the disorder or a cure? The information given throughout the film from the doctor, from the Google search? From discussions?
5.Lars, his age, at home, Karen wanting him to come across for meals, his refusal, at work, with Margot, shy, with his co-worker, the pornography information about the dolls? Simple, introverted, particularly introspective? Shy? His inability to be touched, the scenes where he showed that even the touching, of the doctor, could be painful? His brother and his relationship, his mother’s death when he was born, his father’s remoteness? Gus leaving home, leaving Lars at home? The Lutheran devotion, church services, support? His popularity with people in the town? With Mrs Gruner? A good man? People’s concern about him?
6.The character of Karen, her concern, pregnancy, married to Gus, maternal instincts, the invitations, the bets with her husband, her loving Gus, her work, her generous type? Happy with news about Lars? The meals and the visits?
7.The arrival of the doll, opening it, the specifications, the look, the background story (and Gus finding Google stories for the dolls)? His introducing Bianca to Gus and Karen, their bewilderment, the audience bewilderment? Lars speaking with the doll, listening to her? His wanting the room in the house, his being very proper? The meals and his concern, eating her food? Karen’s clothes? Bianca having a life of her own? Lars going out with her, taking her to the lake spot, communicating with her?
8.The Jungian themes of animus and anima, Lars’ own anima embodied in Bianca, her life story and problems reflecting Lars’ own life stories, sharing these with her?
9.Karen taking Lars and the doll to the hospital? The doctor and her consideration, concern? Pretending that Bianca had an illness, needing treatment? The doctor’s patience with Lars, taking time to listen to him, being informal, having a meal, chatting? Discovering that Lars could not be touched? Lars and his further talking, explaining, revealing himself? The process for change?
10.The people in the town, Karen chatting with her friends, Gus talking at work, people in the office, the church group and the minister discussing what Jesus would do in such a situation? The receptionist? People driving Bianca around? The invitations, to the church and her being welcomed, to the education board, at the hairdresser’s? Her importance in the town?
11.Karen and Gus, their looking after Bianca, fully collaborating? Gus trying to use shock tactics? Finally agreeing, his sense of guilt about leaving Lars at home? The effect on Karen and Gus? The effect on all the people in the town? The receptionist’s party – and everybody being considerate, Lars and his chatting, the issue of drinking? Taking Bianca home?
12.Lars getting better, having a dispute with Bianca, his concerns about her, her going to the board meeting, Lars and his agreeing to go with Margot to the bowling alley, the men joining in, his hopelessness, change, being able to bowl? Discovering that Bianca was dying, going to the hospital, bringing her home, lying in the bed, taking her to the lake, putting her in the water?
13.The funeral and people still collaborating in the make-believe? The optimism in so many people, with a sense of community, banding together to help with the healing and help of Lars?
14.The healing themes, friendship, community? Fantasy and reality? A film of gentleness and hope?
