Controversial Issues And Success Of The Film Requiem For A Dream

Darren Aronofsky’s film “Requiem for a Dream” is either perceived as a disturbing propaganda or a gut-wrenching masterpiece of a film. People either love it for tackling issues that are at the heart of contemporary youth: sex, drugs, social media. But for the faint-hearted this film could be considered a downer. There’s no inbetween. And although both are equally valid opinions, his talented cast and skillful cinematography brings most to one conclusion, that this film is a masterpiece. Requiem for a Dream is a notoriously bleak adaptation of Selby's 1978 novel depicting the story of three twenty-something year old junkies and an old, depressed widow as they each strive for a better life while fighting hopeless addiction. Aronofsky directed Requiem for a Dream amongst the “Faded Fun houses” of Coney Island, New York.

The film pivots around the story of a lonely widow Sara Goldfarb (Ellen Burstyn) and her son Harry (Jared Leto); Harry's friend Tyrone (Marlon Wayans) and Harry's girlfriend Marion (Jennifer Connelly) who all have dreams they want to pursue. But despite their aspirations of greatness, they all succumb into their addictions. Watching each of these completely sane adults spiral out of control, Aronofsky is able to induce physical pain upon his viewers as their relatability leaves many sympathising with their decisions. And it is this devastation and heartache that we develop as a response to Aronofsky’s portrayal of his character’s downfall which saw him win the Movie of the Year award at the AFI Ceremony in 2001 alongside 32 other awards and 63 nominees at numerous other locations. People have seen junkie movies before. They all depict the same storyline showing drugs as a wreckless tool used as an experiment which progresses into a habit which then becomes an addiction and finally reaches the stage of dependency. This cycle has become a predictable narrative which bears all the familiar elements of an anti-drug video you’d see in high school. In all honesty, Requiem for a Dream seemed no different to these recycled cliches, but Sara Goldfarb’s charismatic acting opened up a story beyond the confines of a typical drug film. The success of this film lies in the effective casting of Ann Goulder who appointed Ellen Burstyn for the role of Sara Goldfarb. Ellen Burstyn’s performance as Sara Goldfarb is something to behold. Playing an old, lonely widow whose only yearning was to appear on television to make Harry proud, Sara becomes obsessed with the thought of featuring on television and later becomes hooked on diet pills without realising that the pills are addictive drugs called uppers.

Sara’s naivety provides the heart that this film so desperately needs. While the other characters were introduced as heavy consumers from the opening frame, Aronofsky deliberately uses Sara’s transformation process to depict just how easy it is for a seemingly normal person to turn into a drug induced maniac. By providing a relatable centre to what may otherwise seem like a mythical story, Aronofsky purposefully evokes sympathy in his characters. He ensures we understand that these characters were not always drug addicts and had dreams to fulfil just like anyone of us. Ellen’s performance also presents one of Aronofsky’s biggest strengths, his filmmaking. It is this relentless, almost punishing filmmaking of Aronofsky which presented his audience with a visceral feel for what the addiction lifestyle is all about. In particular, a technique which he calls the “hip-hop montage” (which quickly cuts together the drug-using-process with rapid shots of the apparatus, drugs, dilation of pupils accompanied with slurps and gulps) communicates how moments of bliss under the influence of drugs is so brief compared to moments of despair that it becomes more than just a fix. It transforms into an unattainable force, a desire which ends up consuming characters whole. Repetitive use of this hip hop montage allowed audiences to familiarize with the drug taking ritual and explicitly identify just how short-lived the euphoria of drug addiction is. Alongside this he draws in the viewer's attention by attaching cameras onto actors during scenes of intensity, incorporating fish eyed lenses to represent the character’s altered mental state under the effect of ecstasy and objectivising the characters alienation from their surrounding when intoxicated through time-lapse photography just to name a few of his compelling film-making. Through these subjective storytelling devices, Aronofsky intends on submerging his audiences almost entirely into the characters mindset so viewers can suffer alongside them and their drug induced experiences. His ability to take people inside the minds of these characters by using almost every technique in his arsenal is an impressive skill that needs to be phrased. It is through Aronofsky's insistence of engaging his audiences with original cinematography which enabled his audiences to be warned of the horrors which can be lead by excessive consumption of any drug.

Requiem for a dream is a film which may seem to have the moral complexity of a drug awareness video from a school health lesson. However, it ends up being so much more than just that. Under Aronofsky’s direction, what could have been another obvious narrative plot becomes truly affecting on a deep emotional level. It serves a warning about the power of drugs on our subconscious mind. Furthermore, Requiem for a Dream is unlike present-day drug films, convincingly illustrating the devastating effects of drugs without it becoming an over exaggeration. Requiem for a Dream is the most uncompromising work of art you can ever view. It’s brutal, it’s accurate and it provides an unforgettable artistic message that expresses the dangers of dependence. Provided you’re a mischievous teen thinking of experimenting with drugs for fun, Requiem for a Dream will steer you clear from drugs for a long time.