A creative and profoundly human film

Rating: 8/10 (30 August 2006)

Eternal Sunshine is a film based around an intriguing premise; you receive a note that states that someone has had you erased from their memory. Writer Charlie Kaufman is drawn to such ideas, both high concept and surreal in equal measure. Yet his characters are always grounded with the possession of recognisable human qualities the like of which are rarely so honestly portrayed in modern cinema. In Being John Malkovich his characters take the unlikely solution of a door into the mind of the titular actor in order to literally escape from themselves, having been provided with the opportunity to become somebody else completely. In Eternal Sunshine, Kaufman's creations are again attempting to escape, this time from the painful memories of a failed love affair.
When he discovers that his ex-girlfriend Clementine (Kate Winslett) has used the services of Lacuna Inc in order to erase the painful memories she associates with him, Joel (Jim Carrey) decides to undergo the same procedure. As the specialists track the unconscious Joel through his memories of Clementine, methodically erasing any recollection he has of her, he is somehow conscious of what is happening. The process begins with the memories most recent, arguments the couple had as their relationship broke down. As time passes in reverse, and Joes recalls happier times, he beings to realise that he wants to hold on to these memories, without which he will lose Clementine forever.
Thus begins the unusual and imaginative centre of the film, as the two protagonists are chased through Joel's memories as he desperately tries to retain his recollections of Clementine. These sequences are unnerving, as the idea that someone could literally 'steal' you memory should be. They are also quite creative, rarely using computer effects when clever camera work would suffice.
In one of the funnier sequences, Carrey realises that in order to hide his memories of Winslett, he must take her into a part of his mind where she does not belong. He chooses a painful memory (aren't these always the ones we remember?) where a group of young boys goad him into hitting a dead bird with a stick. This is shot partially with a young stunt double for Carrey and partially with the man himself, dressed as a six year old. Yet director Michel Gondry is not afraid to switch to a full size Carrey, who makes to attack one of the young Bullies, only to be taken down by the kid with a painful looking arm lock. Whilst the effect and design of the film often appear rough around the edges, the combination of solid central performances and a clever script keep the audience engaged with the characters.
The memories which Carrey experiences are believable as a selection of recalled events from a love affair; moments of intimacy, infuriating arguments and conversations and occasions which were seemingly insignificant at the time. These are real characters with personality flaws that ring true. Joel may be a little dull and overly dependent on his partner, and Clementine is certainly insecure and incapable of commitment. As we learn about their relationship it becomes apparent that whilst they are neither flawless nor ideal for one another, that life was never meant to be easy and perhaps we have to accept the bad with the good.