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Eternal Sunshine of the Spotless Mind 2004

A couple undergo a procedure to erase each other from their memories when their relationship turns sour, but it is only through the process of loss that they discover what they had to begin with...

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Imdb rating: 8.4

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havent watched it, but looks very good, might watch this later if i get the chance, jim carrey is suppose to be brilliant in this, less comedy like when he acted in THE MAJESTIC, and that was an amazing movie :)
First time watching this...loved it. At least, I think* it's my first time?

i love, love, love this movie...
its so creative and artsy <3
its love :]
if you like this you should watch orgies and the meaning of life...

This quirky entry sincerely explores a fascinating concept with complicated implications, all within the context of a semi-romantic comedy.

Eternal Sunshine of the Spotless Mind readily lends itself to repeated use of that "semi-" prefix: semi-drama, semi-sci-fi, semi-tragic, semi-lots of things. Admiration is due the screenwriter and director for refusing to give in totally to any of the individual "semis," and thereby producing a much more intriguing and entertaining film. For example, this could easily have devolved (especially with Jim Carrey aboard) into a goof-ball romantic comedy, but the clear intent is to seriously explore the concept of memories: losing them, wishing them away, desperately holding on to them.

The film asks its audience to pay close attention and to follow the complex logic required when memories are treated as living, present entities that can be altered and with which we can interact. And why can't we interact with or change our memories if the premise of the movie says there is a way to delete them?

At some point, I want to see this film again to enjoy the way the plot and action follow that convoluted path of logic to a quite interesting and semi-surprising finale. Knowing the finale and the conceit of the story will help me follow the action with greater understanding of, and admiration for, its construction. This film asks for, and deserves, that kind of scrutiny.

All I have to do is remember to rent the DVD again!

Precise Knight Rating 8.2

(Viewed on DVD)
****/****

Pro: Editing. Carrey! The writing. Winslet! The direction. The low-budget feel. The effects. A great twist on the love story. The way the visual portrays our memories.

Con: The story doesn't flow as well on-screen as it did in the script (minor con).
Seeing the craptacular movies so you don't have to...

However, Eternal Sunshine of the Spotless Mind hardly qualifies as a craptacular movies. Quite the opposite in fact. It is the first movie of the year to get the coveted "Darbicus Classic" label thrown on it (okay so it's not really coveted but you get the drift. Qualifications for said award are that A. It has to be a great movie (I rate it ten out of ten) and B. Well...nothing else really. I just have to like it right?

The movie is a complicated love story, at least on the surface. Jim Carrey (surprisingly subdued) plays the role of Joel, the usual everyman that Carrey is known for playing, who meets and falls in love with Clementine (an Oscar Caliber performance by Kate Winslet). However after a nasty fight Clementine goes to a clinic and has Joel erased from her memory. In response to this...Joel goes to Dr. Howard Mierzwiak (a strong performance by Tom Wilkinson) whom along with his assisstants (played by Elijah Wood, Kirsten Dunst & Mark Ruffalo) perform the procedure on Joel.

What follows is a literal journey through Joel's mind as we examine his relationship with Clementine, and in a way relationships in general. The usual Charlie Kaufman themes concerning reality and perspective are all here, but unlike his previous works this one is not as bidingly sarcastic, nor is it as wacky (though, it does have it's share of Kaufman wackiness in it).

This film more than anything shows Kaufman's growth as a screenwriter, and the fact that his screenplay can translate so well without Spike Jonze as the director is a good sign of things to come for him.

Carrey and Winslet both give great performances in this film, but Winslet especially is deserving of Oscar recognition for this film (let's face it folks, if Jim didn't get nominated for The Truman Show or for Man on the Moon, chances are he's never gonna be nominated) and the rest of the cast is solid as well.

An instant classic...Eternal Sunshine of the Spotless Mind is the first must-see this year, and thus is the best film so far in 2004.
Eternal Sunshine was not as good as I thought it would be.

Just like with LOTR, I shot myself in the foot by reading it before seeing it. For a year now, I've been reading and rereading the screenplay by Charlie Kauffman. And I love it. However, like with all movies, I knew there would be changes done to the script.

There weren't so much changes, but rather omissions. Half of the good tuff (including the killer begining and the last 1/5th of the script) was gone. The movie itslef was highly stylized and I enjoyed it very much.

My friend Lacey liked it a lot. Once again, she took me as a guest to the theatre she works at. No, I do not work at Studio, my friend Lacey does. It's amazing how many interent people get this mixed up.

Anyways, the theatre was filled with employees and at the very end, one said "It wasn't half bad," while another responded "It was full bad." The kind of reaction you'd expect to hear from a 25 year-old who is still working at a movie theatre. :rolleyes:

The movie itself was brilliant, and unlike any I've ever seen. That's why I liked the screenplay so very much. However, I've heard mixed reviews about Michel Gondry, and I can now relate to the negative ones. The direction, if anything, was lacking. Visual appearence was good.

Jim Carrey was brilliant. Just brilliant. Kate Winslet, Elijah Wood, and Tom Wilkinson were strong. Mark Ruffio was good; although all his character did was basically get stoned. Kirsten Dunst, of all people, I wasn't too pleased with. She was wonderful in concept, but weak in delivery. Her early scenes are eerie; the idea that this indifferent flake and her misfit, pot smoking coworkers had people's memory in their hands. By the end, where I expected the strongest acting from her, she sort of fell apart.

*SPOILERS BELOW*
Why it was bad:
Mary does indeed send the tapes to everyone. However, only Joel's and Clem's reactions are shown. The Lacuna remaining staff (Howard and Patrick), were robbed of this scene. Patrick did not take Mary to the lake (although I didn't really see why he should in the first place). The whole futuristic idea of an old, old Mary traveling in tubes and still fighting the good fight against he who made her have an abortion (not mentioned in the film) and then stole her memories of it isn't there. The heartbreaking ending where we find that Joel and Clem have the procedure done several times is left to the imagination.

It is apparent to me that Gondry took a great script and botched it. For, he spent more time re-showing for example the beginning and put so much effort into the visual appearance of the film that he didn't have time for, you know, the plot.
As a self-professed Charlie Kaufman fangirl of the highest order, I found myself petrified as I sat through the previews in front of today's first showing of ETERNAL SUNSHINE OF THE SPOTLESS MIND. My expectations were beyond too high, my anticipation feverish. So often, I'm let down by the movies I really look forward to, and as I waited for the film to begin, I was gripped by the fear that this would be another disappointment, one I wasn't prepared to accept, one I wouldn't be able to recover from.

It may have been unfounded, but the moment of doubt and trepidation was sickeningly real - and it ties in, I think, to the theme of Kaufman's film - which is a love letter to falling in love, a simultaneously heartbreaking and affirming declaration that sometimes two people are meant to be together, and that our moments of insecurity, boredom or claustrophobia in our relationships are a part of being human, rather than a warning bell. I don't think it would be possible for even the most jaded person to come away from the film with an impression of cynicism. Whether you think of fate as an iron hand that limits your choices, or a benevolent force that guides your decisions, the message here is that our instincts matter and, as Khalil Gibran says, the heights of our joy can be no greater than the depths of our sorrow.

Kaufman reinvents the backward-narrative structure, letting us in on the "twist" early enough that we can look forward to it, and using it to soften the blows delivered during the film's second act. The truly revelatory moments in the subplots also serve to prepare us for the film's conclusion, each theme circling back on itself not redundantly, but instead as a kind of refrain. I'm glad I saw the film alone; I wept and didn't give a damn who saw me. And (this is not hyperbole) I had an epiphany as I left the theater, spelled out plain as day before me: our hearts know the best course for us, even if our minds rebel with all of the knowledge we've amassed to protect ourselves from mistakes.

Brilliant comedians are almost always also brilliant dramatic actors, though they find themselves pigeonholed (Bill Murray, anyone?). Jim Carrey is pitch-perfect in this role, sublimating his larger-than-life persona and, I suspect, channeling the part of himself that made him a comedian in the first place. Kate Winslet, also playing against type, managed to convince me that Clementine was both compelling and deeply flawed - a real person, who tried to be bigger than real in order to anticipate and head off the criticisms of those around her. Tom Wilkinson, Mark Ruffalo, Elijah Wood and Kirsten Dunst round out a cast whose contributions are exactly as big as they need to be, without scene-stealing or disconcerting uneven moments.

As usual, Kaufman lays bare the most agonizing and intimate private moments of our lives - the ones we repress and ignore until we can believe they are someone else's memories, other than our own. And Michel Gondry capitalizes on these painful elements of the human collective consciousness, pointing his cinematographer Ellen Kuras at them with a hand-carried camera and an order not to flinch.

Those of you who know me know I hand out perfect 10s rarely. I considered giving this a 9 just in case it was only my emotional state that drove the decision, but in keeping with what I just re-learned, the rating reflects what the film gave me as a viewer, and the hyper-sensitive critic in me found no fault worth a deduction.
What can i say about this movie other than it is a pure masterpiece. Charlie Kaufman again shows us the power of original writing, and the kind of emotion all films should have. This is a man who will continue amaze us with his writing for many years to come.

Now, enough about Charlie Kaufman....what made this movie so great? Foremost is the acting. This is honestly Jim Carrey's best performance yet. It totally overshadows anything else he's done in his career. Joel Birsch is someone many of us can relate too. He's nervous, shy, and just a bit boring. The hting he really needs most is for a person like Clementine to come along and turn his owrol upside down. Kate Winslet as Clementine (bizarre last name i can't spell) does just that, and their chemistry can't help but put a smile on your face. Kate delivers a character who is impossible to hate even for her faults. It's easy to see that Clementine and Joel are total opposites, but yet they go together so well and form a relationship that seems as tho it's just meant to be. The supporting cast is also great. Elijah Wood, Mark Ruffalo, Kirsten Dunst, and Tom Wilkonson fit right into the strange roles Charlie Kaufman has laid out for them, and os as not to ruin anything, all i'll say is they play them exceptionnally well.

Aside from the acting, the movie itself is visually pleasing in ways only Charlie Kaufman can imagine. Michael Gondry does a greta job transfering all these strange situations onto the screen. As expected, there are some parts that will simply boggle your mind, and even make you look at youself in new ways. By the end of the movie, i couldn't help but smile and wonder what new thigns Mr. Kaufman will present us with in the future.
These three words describe the main themes of this wonderful film starring Jim Carrey, Kate Winslet, and Kirsten Dunst.

Carrey and Winslet play a couple (Joel and Clementine) whose lives are irreversably effected by their chance meeting on a beach. The film, written masterfully by Charlie Kaufman, explores with whimsy, insight, and poignance falling in love, out of love and back again.

The most fun is to be had mentally, through the conceptual conceit at play throughout the film: the reification of memory. When these lovers turn on each other, they have their memories erased. But as we view the procedure which will bring this erasure about, Joel changes his mind, realizing that to lose one's memories is to lose one's self.

This movie moves me like Lost in Translation does. See this film if you were impressed by Carey in Truman, see this film if his method acting in Man on the Moon surprised you, but more importantly if these films did not impress you, see this film, and be impressed by Carey who gives the performance of his life.

This fim is perfectly cast and acted.
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