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Silver Linings
Playbook (2012)
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Director:
David O.
Russell |
COUNTRY
United States |
GENRE
Drama/Comedy/Romance |
NORWEGIAN TITLE
Silver Linings Playbook |
RUNNING
TIME
122 minutes |
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Producer:
Bruce Cohen
Donna Gigliotti |
Screenwriter:
David O.
Russell |
Review
Most films about mental illness
take a sensational approach to the characters and disorders in
question, often focusing on what's remarkable about them or their
illnesses (Rain Man,
anyone?). Silver Linings Playbook, on the other hand, changes
this around. It looks behind the diagnoses and views its bipolar
protagonists as human beings with some peculiar characteristics. The
disorder itself is of minor importance at best. This angle is so
refreshing, from both a filmatic and a psychological/sociological
point of view, that we're off to a flying start already before
director David O. Russell starts introducing his plot, disclosing
that his film is really a conventional romantic comedy in disguise.
But if you're going to make a
romantic comedy, which arguably is the most cliché-ridden of all
film genres, this is the way to go about it. The focus should not be
on the payoff and the happily-ever-after (although ultimately, it
always is), but on the characters and their struggles.
And the characters in Silver Linings Playbook certainly have
their struggles. Not your typical Hollywoodish, plot-oriented
struggles, but deep, personal issues which are remarkably accurately
rendered. It's quite evident that David O. Russell, who also wrote
the script, knows well what he's talking about. And I think a lot of
people with bipolar disorder will enjoy watching a film which
tackles this seriously, but still not without humour. I particularly
felt that Pat's progress, often consisting of two steps forward and
one step back, was authentic, well helped by Bradley Cooper's
sensible performance. And the man is really funny too.
As the ending
approaches, Silver Linings Playbook unfortunately starts
going through all the motions. After having been so original up
until then, creating its own little universe, I was disappointed to
see that Russell couldn't find another way for his boy to get his
girl than by dragging us through a number of cliches and audacious
plot twists. I suppose it'll still work for those who are in the
mood, but it doesn't live up to the great standards the film sets
for itself during the first hour or so. Luckily, the many fine
performances still do.
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