totally engrossing

Rating: 9/10 (16 February 2013)

There is a particular scene in which the combined empathetic artistry of writer director David O. Russel, lead actors Bradley Cooper and Jennifer Lawrence and supporting actors Julia Stiles and John Ortiz encapsulate the heart of the message behind Silver Linings Playbook. The tempestuous, brazen Tiffany (who better than Lawrence) and the more subdued and cheerful, but still socially tactless Pat (Cooper) are two people with bipolar disorder who are getting to know each other for the first time. The topic of medication arises, and they both comfortably discuss the effects of lithium and other pills as casually as other people would discuss hayfever tablets and other treatments that are mundane to them. Meanwhile, a quick cut reveals their two neurotypical, or "normal," dinner hosts listening bewilderedly to a conversation they don't have a hope of connecting with. Pat and Tiffany and playing one of the titular silver linings of making conversation about the day-to-day challenges of their condition. These unusual difficulties don't make them any less three-dimensional and human, but on some occasions, these symptoms are especially problematic, and can't be dealt with as easily.
Pat, as we soon learn, had had his peaceful domestic existence shattered by one freakish incident of violent manic depression. After spending eight months in the chaotic mixing pot of a mental institution, he returns to the outside world to find that beautiful wife and all of his work colleagues have all taken out fearful restraining orders against him, and that his entire neighbourhood is still in a state of confused, ignorant shock at this single fatal outburst. His only points of refuge are the home of his unconditionally loving parents, his daily exercise routines, and, in ways less obvious to him, Tiffany's companionship.
Of all the narrow-minded, callous parents of disabled children to have been seen on screen and in the real world, Pat's parents and certainly the most compassionate. Pat Sr. (an enthusiastically erratic Robert De Niro) also has a disorder – Obsessive Compulsive – and often finds that his son exhibits similar behaviour to himself, but tries tirelessly to be the voice of reason in his son's life. He's always asking Pat junior to watch football games together with him and his mother, Dolores (Jacki Weaver), on the couch, insisting that he should have quality family time, when it's always out of his undeniable superstitious wish to see his team score well in the presence of his good luck charm. Dolores is as caring, selfless and well-meaning as only a mother can be, but she is also understandably overwhelmed by the challenge of living with two such dangerously unpredictable men. It's quite a shock to see Weaver playing a much gentler matriarch than in her previous, chilling performance in Animal Kingdom (2010) and impressive to see her be just as controlling, but infinitely sweeter in her second Oscar-nominated dramatic turn.
Pat's other primary relationship, with Tiffany, largely follows the successful formula of Josh Hartnett and Radha Mitchell's characters in Mozart and the Whale (2005) who both had Asperger's Syndrome. Pat's an emotionally insecure man. Tiffany's an unashamedly emotional woman. Pat is quite mild-mannered, but still lacks a social filter. Tiffany is very brazen and puts more conviction behind her inappropriate interjections. She is also much more accepting of the realities of her different psychological profile. Pat, on the other hand, is very uncomfortable with his disorder and desperate to live the life of a neurotypical, and insults by her insisting that he's nowhere near as crazy as she is.
When it comes to depicting mental disorders, two are evidently better than one, especially if they're of different genders. Both ends of the spectrum can be explored, and we can see that two individuals with the same condition will not always be compatible. Pat's hypocrisy, like Donald Morton's in Petter Næss' film, is the main source of conflict between them, as well as the usual relationship hurdles that would be present without the disorder. The romantic destination of the narrative is still fairly obvious, but not really set in motion until the last few scenes. It is mostly the ups and downs of friendship, not partnership, that we see played out between them.
There are a few perhaps innate clichés that seep into the screenplay, such as the default suspenseful plot device of a high-stakes bet between a likable character and a sneaky protagonist, the last-minute dramas before a crucial event that's been pending for most of the film, the usual pep-talk to the uncertain male lead that inspires him to chase the girl of his dreams before it's too late, and some other victimless crimes against originality, but most of these are offset by the intelligent execution of the story, and some are even worked to the film's advantage.
A more than solid enough foundation is built with the brilliantly written and portrayed character – including a very lovable mental patient played by an unrecognisable Chris Tucker – and the very engaging thematic material, which easily holds together a narrative that's occasionally rickety, and makes an enjoyable, captivating film out of a very challenging subject.