365 Films
Entry #115
Pleasantville
(1998)
Directed by
Gary Ross
Steven Soderbergh may not have directed Pleasantville, although he is credited
as a producer, it still contains many of the exact same themes that have
fascinated him over the years. It’s
not difficult to understand why he took a liking to this particular project. The idea of competing realities coupled
with a subversive take on the American dream seem like they could have come
directly from the Soderbergh dream factory, the fable-like qualities of the film are entirely within the
wheelhouse of writer-director Gary Ross.
Coming off writing the screenplays for the two populist fantasies Big
and Dave, Pleasantville is a fairly remarkable feature for a first time
director. Aside from the fact that
it is almost entirely composed of visual FX shots (the color intrusion into the
black and white world of Pleasantville remains a marvel to this day), the
juggling act the film has to take on should have flat-out sunken even the
cockiest of directorial egos. Said
juggling act involves transitioning from a fish out of water sit-com premise to
an inquisitive look into the pervasive influence of media into our American
concepts of happiness. Ross is
aided heavily in this by a pretty mighty group of performers, hell, he even
found the one role that Paul Walker couldn’t screw up. The heart of the film, to me, remains
the Joan Allen-William H. Macy-Jeff Daniels triangle and re-visiting the film,
I truly believe that these performances help sell a lot of Ross’ effective
(albeit somewhat hokey) satirical points with genuine and rich emotion. The late 90’s and early Aught’s were a
proverbial breeding ground for a slew of films warning us about the dangers of
living within the 24 hour media cycle.
Obviously we’ve heeded all of those warnings and are completely free
from it in today’s modern age, I guess it was just a lot of pre-millennial
freaking out. Pleasantville stands
apart in its capacity to enchant and enrapture, if only all bitter pills went
down this easily.
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