Beautifully disturbing

Rating: 9/10 (14 April 2005)

Darren Aronofsky's follow up to his acclaimed cult hit Pi has often been labelled as a 'drug' movie similar to that of Trainspotting. But Aronofsky would prefer you to call it a film about addiction, as everyone within the film relies on their own type of 'drug', be it television or heroin. The narrative is centred around four characters; Harry Goldfarb (Jared Leto), Sara Goldfarb (Ellen Burstyn), Marion Silver (Jennifer Connely) and Tyrone C Love (Marlon Wayans). These characters are all dreamers, they all have a certain place and a state of mind where they'd like to be. Requiem tells of their delusional journey towards obtaining these dreams as their lives fall apart before our eyes, reaching physical and emotional lows that are truly harrowing to watch.
The film takes place at Coney Island, Brooklyn, amongst its abandoned beaches and run-down estates that serve as a perfect backdrop for Requiem's harsh reality, yet also its unflinching surrealism. The characters make their way through this place as it appears to decay a little every time they do, emphasising their mental and physical states with a kind of subtlety that suggests a true genius at play here. In fact, there are so many small changes to the locations, the lighting, the set designs and character's appearances that it is worth re-watching Requiem just to spot them. However, I digress, as Requiem for a Dream's true brilliance comes from the excellent performances on display, most notably from Ellen Burstyn as Jared Leto's mother, Sara Goldfarb. Sara is a widow, who spends her time alone watching TV or meeting up with her knit group. But it is the TV, not her friends that is her true companion, as she sits transfixed, watching Tappy Tibbons (an energetic Christopher McDonald) with an utmost urgency. Sara's downfall begins when she receives a letter inviting her to be on television. Of course she is delighted, it is a dream come true for her, but if she's going to be on TV she has to wear her special red dress that she wore to her son's graduation. Trouble is, Sara no longer fits in her red dress and needs to lose weight. Quickly. Sara goes to the doctors and is prescribed pills to help her lose the pounds, and it is only a matter of time before she does. She takes the pills, watches the TV and dreams of being on it in her red dress, but she is taking speed to help her lose weight and she begins to lose her mindÂ… Likewise, Harry, Marion and Tyrone have their own drugs; heroin and love. Unfortunately, the draw of heroin is stronger than the latter and they too descend a downward spiral into addiction and desperation. The parallels between Harry's and his mother's addictions are clearly drawn with the use of snappy editing. Sara picks up the remote, switches the TV on, eats a rice cake, takes her pills; all in a quick succession of beats. The use of heroin is shown in exactly the same way, the flame, the needle, a dilating eyeball etc, all edited with the same punch to exemplify that, although addicted to different things, Harry and his mother are both heading down the same path.
There really is no way out for these characters. There is no happy ending in sight for them, and Aronofsky rightly doesn't give them one. It is hard to categorise Requiem for a Dream, and I have no intention of trying to do so, but this is a film that everyone should see. It is a powerful, unflinching depiction of four people who we really do care about destroying themselves. We care about these people because they are our friends, our girlfriends and our mothers. They are normal people who find themselves in situations that are far too brutal for anyone not to feel for them. Harry and Marion's love is sincere and warm, not melodramatic or schmaltzy Hollywood love, and to see them break apart from each other is truly saddening as you just know that Aronofsky isn't going to give them a chance meeting at rehab to get back together.
Visually, Requiem for a Dream pulls all the stops. The use of split-screen is amazing, especially in an intimate scene between Leto and Connely, as they lay side by side touching each other, yet appear apart. There is time-lapse photography, super-wide fish-eye lenses, brave camera movements and expressionistic lighting, but never does it feel that Aronofsky is using these techniques just to 'show off'. There is meaning behind every stylistic flourish that graces the screen, adding a greater depth to the proceedings and involving the audience in a way that makes for uneasy, yet entertaining, viewing.
Requiem for a Dream is a true work of art. It is ugly, brutal, beautiful and profound without being pretentious. Aronofsky uses effective visual tricks and styles to emphasise emotions and places without resorting to a shallow style-over-substance MTV look, and DoP Matthew Libatique's lighting and camera-work is at once realistic and surreal, and constantly amazing. Between them, they create a world that pulls you in, instantly engaging you with the characters and their lives. Then it pulls you under, showing people we care about going through some of the most saddening, brutal moments of their lives until, by the end, you'll be gasping for breath.
I really cannot recommend Requiem for a Dream enough. It is truly one of the most powerful, astounding films you will ever see, and demands repeated viewing. However, if you like your movies warm and fluffy with a feel-good, happy ending then it may not be the film for you.