Many
lovers like to say to each other their loves will be eternal.
You might say, however, that it is idealistic, if touching,
nonsense. But, could you prove such a thing? You don`t know
what happens after death any more than I do. Perhaps "life"
does continue in some form after we leave, and maybe those
relationships can still encounter obstacles. This is the circumstance
involving a married couple, played by Robin Williams and Annabella
Sicorra, in the metaphysical, stunning love story What Dreams
May Come.
The
setup of the movie is very routine. The two meet accidentally
while rowing, and immediately we see simple scenes of courtship,
marriage, and family. Then tragedy strikes. The two children
are killed in a terrible car accident, then only a few scenes
later, Williams himself is killed in a chilling moment. This
is where the true purpose of the film begins. Williams is
now in the afterlife, and you get an luxurious glimpse of
what it might be like for such an individual. The movie tells
and shows not just the heaven itself, but one`s own personal
reaction to that heaven.
While
watching this film, I came under the realization that if Ingmar
Bergman had been a special-effects wizard with a perverse
delight in happy endings, he could`ve been the director of
this movie. And a slower, less knowledgeable mind than even
I might have very well believed Bergman was that very man
in the director`s chair, especially when suddenly Max Von
Sydow shows up, in a severe and stern character role, and
to guide Robin Williams through Hell, no less. But when you
realize that Bergman is now some 80-something man resting
somewhere in the frigid Swedish countryside, and hasn`t directed
a film since the very un-modern setting of Fanny and Alexander
in 1982, you realize Bergman has not made a staggering comeback,
to show that he is indeed relevant to our Star Wars generation.
Besides, this film makes too much sense (at least for anyone
who`s suffered through Persona, at any rate!) and usually
people grow even more fractured and senile as they age!
Now
why did I mention Bergman? I did because this film also deals
with the major questions of life, especially death (a pretty
common occurrence in Bergman). But, in our special-effects
age, these ideas are expressed mainly in visuals, where most
of the brilliance of the film comes from. When Robin Williams`
character dies, he experiences a series of images of events
occurring after his death, like his funeral, and assorted
periods of grieving. He is accompanied by a man, played by
Cuba Gooding Jr., who appears to Williams as a blurred, indistinct
apparition. The reason for this is explained as Williams`
natural refusal of his own death. He can still see clearly
and distinctly the world of his previous existence, but cannot
fully comprehend, much less accept, figures accompanying a
whole new realm of reality. Of course, just as one eventually
gets used to the light after coming out of a long period in
the dark, Williams eventually is able to be visually accustomed
to the new reality of the afterlife. And what a reality it
is. He suddenly appears in a unique landscape, a representation
of his wife`s painting. And like a painting, the textures
are similar, even to the point where the colors aren`t even
dry, allowing Williams to make sloppy footprints on the ground.
Back
on earth, Siccora`s character is in crisis. Now that she is
without husband, or children, she is no longer happy, and
slowly but surely develops a suicidal state of mind. When
Williams finds out that she has killed herself, he believes
they will at least finally be reunited. But the problem is
that someone who kills oneself has in effect denounced the
extraordinary gift of life, and so is sent into hell. One
who commits suicide denies the responsibility inherent in
the earthly life; they have taken the easy route out, and
as punishment, they are forever condemned to wallow in their
self-pity and suffering. Williams cannot accept the eternal
fate of his soulmate, and this is the point where he enlists
Sydow to journey with him to Hell and rescue his wife. (And
who wouldn`t want to rescue Annabella Siccora????) Hell`s
landscape is as equally great to look at as the Heaven, with
pale bodies screaming in agony in a cold lake, heads poking
from the ground, and finally, Siccora`s own ragged appearance
when she is finally found.
Another
equally good insight is the notion that people have their
own personal Heaven and Hell. William`s heaven is created
simply for him, for he has a love of art and especially of
his wife`s work. And as well, Siccora`s hell could only be
as grim as it is because she is forced to suffer endlessly
through her own pain. This makes perfect sense; in life we
can only relate to events in a personal, subjective way, so
if we are to go to either the best or worst places when we
die, it only stands to reason that they are the best or worst
because they will give you the most pleasurable or ugly feelings.
Clearly, this vision is secular rather than Christian, but
sense I lean much more to the former than the latter, this
is a more natural vision for me to understand, even if I don`t
necessarily take it seriously.
David
Macdonald
David
Macdonald's Movie Reviews
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