Pleasantville (Gary Ross, 1998)

I never particularly cared to see Pleasantville (Gary Ross, 1998) but on the recommendation of some friends went ahead and threw it on my Netflix queue awhile back and forgot about it. With a Netflix queue as long as mine, I'll put things on it and by the time I get the film I wonder what I had originally been thinking. As it was with Pleaseantville, I can't remember who recommended it to me or why I finally acquiesced and place it on my queue. Needless to say, I came away particularly impressed.

The most impressive thing to me is the overall job accomplished by Gary Ross. Writing, producing and directing a film can be akin to running a marathon backwards while stabbing yourself in the leg with an icepick. It's that much fun and so easy to get finished. Ross does it though, and rather well. The film is fun and poignant, it speaks to larger issues and it has some amazing production value to it.

The most striking aspect of these production values is of course the CGI and the effects editing. The mixing of two worlds had to be insanely difficult but what was accomplished is very well done. The art direction and overall production design to the film is remarkable as the audience is place into that ever so perfect world of America in the 1950's. Like that decade though, not all is right in Pleasantville and the films narrative captures this perfectly.

The underlying subtext within the film is a great mirror to the issues that underlies 1950's America. Male identity crisis lingering from the return of men from World War II, a rise in social and psychological awareness, a smoldering guilt over inherent racism and it's effect on dividing our nation, and a ethical and moral compass which was not only spinning out of control but was teetering on the precipice of a new age. Every one of these issues is dealt with magnificently in the film.

The men of Pleasantville want things to remain as they are. When George Parker (William H Macy) stumbles around his home asking "where's my dinner?", can this clinging to the old ways be more visible? The placing of placards reading "No Coloreds" brings a direct link to the era, albeit in a cleverly thought out way. And what of the moral precipice? Can Mary Sue (Reese Witherspoon) bringing the sexual revolution to Pleasantville be considered the spark that started the sexual revolution? The film is set in 1958. Within five years the birth control pill is introduced and the underlying sexual tension that existed in the 1950's was released. Is it all Reese's doing? Maybe.

Pleasantville is one of those rare films that works on all levels and I kick myself for never having seen it before. Do yourself a favor and go watch it!