The Truman Show (1998) IMDB Top 250 Guest Review

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Today’s IMDB Top 250 Guest Review comes from David of That Moment In. Thanks for the review, David! 🙂 Now let’s see what he has to say about The Truman Show, IMDB rank 215 out of 250…

There are still some movies up for grabs if anyone wants to do a guest IMDB Top 250 review. You can find the list of remaining films HERE. See the full list & links to all the reviews that have already been done HERE. Also, if you’d like to add a link to your IMDB review(s) on your own blogs, feel free to use any of the logos I’ve used at the top of any of these guest reviews.

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Director: Peter Weir
Writer: Andrew Niccol

Stars: Jim Carrey, Ed Harris, Laura Linney

These days, in most cities and towns, avoiding being filmed is next to impossible. We are so used to it now, that we rarely give it a second thought. CCTV cameras line every street, shop and restaurant recording us from every angle. We could probably make a movie about our lives just by going outside. For Truman Burbank though, someone already is.

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Chosen before he was even born, Truman (Jim Carrey) was selected as the first 24-hour-a-day star of a TV reality show, creatively named The Truman Show. The brainchild of eccentric film maker Christof (Ed Harris), the show is an international phenomenon and been on the air for 30 years, documenting every aspect of the man’s life. And what life he’s had. Or rather not had. Christof has carefully orchestrated the world Truman has been living in, guiding the young impressionable mind as a child to remain content with his neighborhood and fearful of the world beyond. That included “killing” his father in a boating accident, an incident so traumatic, Truman can’t go near the water. This is just one of many tricks employed against Truman to keep him where he is.

There are other things that stand out for us, but less so for a man who’s grown up in a sanitized, near perfectly planned environment, which is the greatest set in television history. Everyone in Seahaven (the community Truman lives in) is an actor and they are all in on the con. Truman is married to the wholesome Meryl (Laura Linney), who is eternally chirpy and always within reach of a product to suggest they try, making sure the label and name are clearly visible for the watching audience. This is one of the film’s major conceits, that Truman is the spectacle but we are the consumers.

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Like anyone, things nag at us, and for Truman it is the same. But lately, things have become increasingly curious. A large studio light falls from the sky and crashes on the road in front of Truman. It’s quickly covered up by a radio broadcast talking about an aircraft in trouble, which also help maintain the fear of flying already implanted in his mind (Travel agencies feature posters of airplanes being struck by massive bolts of lightning, claiming THIS COULD HAPPEN TO YOU!). But not long after, while driving into work, the radio catches static and Truman hears the show’s crew tracking Truman’s movements as he approaches. Suspicious. But most troublesome for Truman is Lauren. Lauren, played by Sylvia in the film’s story and by Natascha McElhone in real life, is the love that he was denied. An extra on set, Lauren was never meant to be a regular. From the start, Meryl was cast as the love interest, but this is the thing about love, right? It doesn’t come from casting. It comes naturally, and Lauren overwhelms Truman. Sylvia, though is not happy about Truman’s life and is a member of the “Free Truman” movement which aims to stop the show and the cruelty of the lie. Christof has her removed from the set, forcing her and her “father” to tell Truman her family is moving to Fiji. Truman marries Meryl and life goes on, but secretly, he can’t stop thinking of his one true love. In one of the more revealing moments of the film, we watch as he hides away in the basement thumbing through magazines with pictures of women, cutting out a mouth here, some eyes there and so on. It seems arbitrary at first, and maybe even deviant for a short time until we see that Truman is actually trying to remember Lauren’s face, and is building her piece by piece with the parts of other women. It’s heartbreaking.

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This is the path Truman must take. He must discover his situation and then find a way to be free of it. Without that, the story has no meaning. But what’s impressive about this narrative is the way it makes the viewer consider the world beyond the one in the movie. What does it mean to be a star? Not long ago, it took a lot to be famous. Actors, musicians, politicians and criminals; these were the rare persons that found fame, for good or bad. These days, with reality TV, YouTube, the Internet and social networking, going “viral” and more can make anyone famous. Director Weir is keenly aware of this, and the enormous dome that houses Seahaven and Truman could easily be the metaphor of the fish bowl we all live in.

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That’s the thing about The Truman Show. It raises questions. But the film is a comedy at heart and has its objective to reach, so does not go to places that would make this a truly defining film. Take Meryl, for instance, as the girlfriend first and eventually the wife. How far does she, as a hired actress, go to play the part? Do she and Truman have sex? If so, is it broadcast? How private is Truman’s life? How much will a television audience want to see? Exploring these and more would have taken The Truman Show in a different direction, naturally, but since they are never addressed, it seems like a lost opportunity, and kind of a cheat.

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That is not to say the movie lacks depth, because that would be a mistake. Both Christof and Truman are exceptionally rich characters and Ed Harris and Jim Carrey are astounding in their roles. Christof in not a cold person, but the show is a product and the ratings are the heart. Without Truman, his world collapses, an empire he’s built for thirty years. Likewise, Truman is a child, no matter his age. His experiences are real to him, but they are aseptic, manufactured, free of conflict. There is a palpable father/son relationship in their design, but more like a god and that god’s subject just beginning to question its existence.

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Weir’s bigger message may be directed at the viewer, and one perhaps lost in the art of the film’s presentation. How closely do we really know our own world? How much do we take for granted? Life is a continuous stream of peripheral activity that goes invariably unchecked. How much of it should we question? Truman starts to see oddities, and because he doesn’t know anything but what he’s been presented, his questions are weak and with no frame of reference. Imagine that it began to rain only on you and nobody else. What do you think it could mean? A miracle perhaps? This is a dilemma Truman must face.

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And this is really all about him. Truman is a wonderful character. He’s honest, sensitive, inquisitive, and because we know his situation, he’s also sympathetic. We want to see him win. There is tremendous joy in watching his discovery. Throughout the movie, we see the audience of the show and given a glimpse into how Truman has impacted many personally. Some wear buttons and have posters that read, “How’s it going end?” We may think we get an answer to that question, when the time comes, but in truth, that answer is not so clear. Where is Truman now?

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She’s Having A Baby (1988) Guest Review

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This review for the John Hughes Blogathon comes from Rhetologue’s Movie Logs. Thank you for being a part of this blogathon! Let’s see what he thought of She’s Having A Baby. 🙂

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Love and marriage. It goes together like a horse and carriage but also has Kevin Bacon freaking out in John Hughes much maligned surrealist romantic comedy.

EHarmony. Match.com. OKCupid. What do they all have in common? Well, they’re all websites that have millions scrambling to find ‘the one’. Yet what is it about the actual settling down, past the overly extravagant dates, butterflies and passion filled coitus that has some men freaking out? This is what the late John Hughes explores in his 1988 dramatic comedy She’s Having a Baby. First of all, how hilarious is it that the title completely puts the ball in her court? Even before you get into the story you are completely aware of what starving artist Jake Briggs (Kevin Bacon) thinks about the baby growing inside wife Kristy (Elizabeth McGovern).

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She’s Having a Baby charts the early years of their relationship and is truly told from the perspective of Jake as he contends with settling down, building a home and becoming a father. As much as (some) men like women, Hughes presents the young men in his movie as seeing them as crazy people. Hughes paints Jake’s love interest as a wide eyed, irrational, succubus out to ensnare the innocent young Jake and drain him of his independence and virility. To this degree ‘She’ is nearly inconsequential, yet is Jake’s only real antagonist, as Hughes seems to believe that the target audience (i.e. other men) will understand the basis of his conceit completely. The seed of such a perspective of trepidation is planted by a young and mullet-rocking Alec Baldwin as mirror Davis, a dim witted Lothario still looking for love yet happy to defy its conventions. Baldwin has been playing this character for years and it never gets old, recently making good of the ageing lothario character in Woody Allen’s Blue Jasmine.
The conflicting perspectives are handled with biting candour in Hughes’ monologues as bile flies from all involved, including Jake’s in-laws eager for him to stop playing artist, get a real job and pump out some grandkids. Kevin Bacon’s big innocent eyes and anxiously fatalistic monologues are the anchors to this passive tale as he wanders through his own life, a supposed victim of an inevitability. Yet Hughes marries Jake’s latent misogyny with his devotion, volatile self-esteem, emotional flexibility and belief in love. This was a very mature role for the Footloose star, yet is testimony to a great career of never being typecast. Few actors can say that they have had such a diverse career and that the range has been of such a high standard. Here Bacon delivers the quiet anxiety that is foundation to his concerns.

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As he looks out from behind Hughes’ iconic frames, character and inspiration collide and we are given insight into the writer’s thoughts and convictions with comedic exaggeration. Hughes does a great job of taking theatrical motifs such as moving sets and clashing alternate realities to visually represent Jake’s anguish. We are used to seeing such an approach in movies and sitcoms like Scrubs but here they are delivered with the rough and poor execution of burgeoning innovation. The same can be said for the story, which barrels together as a mess of great ideas, falling over one another without particular form or grace yet bursting with ingenuity. These motifs assist Hughes in conjuring a dream-like quality to She’s Having a Baby, with situations and conversations culminating in Jake’s worldview or providing him suspended time to make moralistic decisions. This surrealist tone has our hero almost unable to believe anything in his life is really happening. For a film to solely generate the mind-set of its protagonist in this way is quite an achievement and has this movie hold a particular novelty.

As Jake flirts with infidelity and finds solace only when the proverbial crapola nearly hits the fan, this is far from a romantic tale…and that’s awesome. In a world of overly saccharine Rom-coms, leading to predictable conclusions with people characterised as overly successful or simplistic failures, it’s nice to watch a story that surrounds people with some rough edges. Sure, those rough edges are of a successful lawyer and a guy walking ass backwards into a job in advertising but it’s as close to the everyman as you can get. This was always Hughes’ gift (or famed indulgence), to paint what can subjectively be called real people, with writers/directors like Judd Apatow firmly living within his legacy.

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Last Words
“We need the eggs”

It’s not a line from Hughes’ much ignored movie but my Last Words are from the end of Woody Allen’s Annie Hall. “We need the eggs” has always seemed to encapsulate the attempt of such narratives that seek to make sense of the relationship between men and women. Hughes’ movie is a charming mess of ideas, concepts, opinions and realities that culminate without any real conclusions…well, except that it would be better if the woman Jake loves didn’t die. That commentary in of itself just made me laugh as I wrote it and that is the fun thing about this movie, it works under an awkward and unashamedly male bias.

Therefore, there are many reasons why She’s Having a Baby wouldn’t be in a John Hughes box set, joining the likes of The Breakfast Club, Sixteen Candles and Weird Science. Sure, it has Hughes’ cutesy hallmarks, with fun contrived montages and anxious monologues, but at its core is a hell of a lot more bite and fatalism. This presents a stoic world view, even beating out the likes of The Breakfast Club in its attempts to contend with coming of age as a baptismal story of underlying sobriety. It’s not as melodramatic as Hughes’ other stories, there’s no overt emotions or morals, as at its core is a darkly comic conceit.

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Though all those other John Hughes movies are miles better in construction and delivery, She’s Having a Baby is one of his often ignored tales that provides sparks of novel creativity, a rarely presented true-ish male perspective and the cahones to be honest about a man’s fear of what it feels like when a woman is having a baby.

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She’s Having A Baby (1988) Guest Review

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This review for the John Hughes Blogathon comes from Rob of MovieRob. This is his THIRD review after Home Alone and then Flubber, posted earlier today. Thanks again for all these reviews, Rob! Now let’s see if he liked She’s Having A Baby (more than Flubber, I hope!). 🙂

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“College is like high school with ashtrays.” – Jefferson “Jake” Edward Briggs

Number of Times Seen – at least 5 times (cable in the 80’s and 6 Mar 2014)

Brief Synopsis – The story of young love, and the ups and downs in a relationship from marriage until that first child is born.

My Take on it – John Hughes is known to most as the king of teen movies from the 80’s, but he also was able to give us memorable movies that don’t quite fit into that niche.

This movie is one of his great movies that doesn’t fit the teen genre, but still can affect us emotionally.

The story revolves around the early years of a marriage of characters who could have fit into his teen genre, so in essence, we get a glimpse of how Hughes pictured the future lives of his loveable teen characters.

Kevin Bacon and Elisabeth McGovern are both excellent here as we see the ups and downs of the first few years of a marriage. The viewer can connect with these characters really well and we constantly root for them to succeed in everything they do; whether it be making a living, being happy with the extended family or how and when to start their own family.

These themes are all touched upon here and instead of the usual Hughes few days timeline, this movie takes place over the period of a few years which shows the slow and emotional development of the characters in their new lives as husband and wife and makes us also invest a lot in their lives.

Hughes had a knack for taking serious matters and dabbling a bit of humor into those situations making the scenes and situations more enjoyable for us to watch.

I think that when I saw this one as a kid, I wasn’t able to fully comprehend and appreciate all the nuances of married life, but as an adult, those themes stand out as being some of the best ones in this film.

This is enjoyable from a kids perspective, but more so from an adult one.

The credits scene here is hilarious and features many many cameos by former Hughes stars (some even in character).

Bottom Line -This is one of the rare Hughes movies that can be more appreciated as an adult than as a teen. Done exceptionally well by Hughes. Recommended!

Rating – Globe Worthy