# Pleasantville (1998)

### reviewed by
Luke Buckmaster

PLEASANTVILLE Cast: Tobey Maguire, Reese Witherspoon, Jeff Daniels, Joan Allen, William H. Macy, J.T. Walsh, Don Knotts, Marley Shelton, Jane Kaczmarek Director: Gary Ross Producers: Jon Kilik, Robert J. Debus, Steven Soderbergh, Gary Ross Screenplay: Gary Ross Cinematography: John Lindley Music: Randy Newman Running time: 116 minutes Australian distributor: Village Roadshow Australian theatrical release: February 25, 1999 Reviewed by Luke Buckmaster

On the Buckmaster scale of 0 stars (bomb), to 5 stars (a masterpiece): 4 and a half stars

Towards the end of Pleasantville - one of the most life affirming films you're likely to see - two characters paint on the side of a local police station. Their vibrantly colored portrait depicts classic novels with wings attached to them, flying above a bonfire that was intended to destroy them. Like the film, this picture is a metaphor for cultural progression. When there are so many films nowadays that look at our modern world in a negative light, here is one that displays advancement as something positive.

Would the world be a better place if it were based in a cheesy 50's sitcom, where dinner is always on the table, husbands and wives sleep in different beds, and teenagers hold hands at lovers lane? Welcome to Pleasantville, a quaint town that is, literally, black and white. Two teenagers - David (Toby Maguire) and Jennifer (Reece Witherspoon) - get magically transported from the dangerous 90's to the mellow world of Pleasantville via the usage of a strange TV remote control. "We're, like, stuck in nerdville," Jennifer exclaims.

Naturally, the film takes time to cash in on some jokes. The word "fire" means nothing to the fire brigade; their idea of an emergency is rescuing a cat from a tree. The local basketball team has never missed a shot, no one has ever heard of the word sex, and the school's library books are full of blank pages. Like in Dark City (and, to a lesser extent, The Truman Show), the residents of Pleasantville see nothing strange about the way they live - they have accepted the reality given to them. At one moment, Jennifer asks a teacher what is outside of Pleasantville, just to hear "I don't understand" in response.

Before the jokes become tiresome, Pleasantville becomes darker in tone during its second half. As Toby and Jennifer (known in town as Bud and Mary Sue) initiate change in the society, things begin to turn into color. Most adults are unwilling to adhere to these new elements, except soda shop owner Mr. Johnson (Jeff Daniels, in one of his best roles in years) who has a dream to paint, and Toby and Jennifer's TV mother Betty (Joan Allen), a likeable woman who craves more excitement in her life. Pleasantville mayor Bob (the late J.T Walsh, in his last film performance) is especially determined to maintain old traditions. Although Pleasantville begins as a light-headed comedy, it ends up examining important issues of prejudice, rebellion, change and honor.

That is quite a lot to cram into 116 minutes, but debut director Gary Ross (writer of Big and Dave) does it with style. As color contrasts with black and white, Pleasantville becomes a visual sensation. It may be the screenplay (also by Ross) that provides the film with its wit, humor and emotion, but the special effects certainly play a large part in reaching out to viewers. It's hard not to be entranced by the image of a single red rose amongst a black and white screen, or Pleasantville's first ever fire (luckily, David shows the firemen how to put it out). This burning tree is quite a sight.

Tobey Maguire and Reese Witherspoon have enough charm and interest to make the two titles roles really work. Witherspoon's Jennifer is at first a sex crazed and self absorbed rebellious teenager, but she gradually matures into a more respectable person. Witherspoon makes that transformation believable, and so does Maguire as his character discovers the thrill of taking risks. Jeff Daniels has a soft and placid part, but his character is meaningful and, at times, almost poignant. Mr. Johnson's love for painting is understandable, and the condemnation of his work by some of the town residents seems tragic. William H. Macy (who regularly plays small parts) rarely catches my eye as an exceptional performer, but here he does. Macy's character (David and Jennifer's TV father) is the only reason why we can relate to the people who don't want Pleasantville to change. They are happy living controlled and repetitive lives, where their surroundings remain dull but peaceful.

Pleasantville is a truly original film that soars with energy and beauty. It has deep meaning and relevance in today's society, and should serve as a reminder for most that the world is made up of how its residents think and act. "You can't stop something that's inside you," says David, and that could be a summation of all that Pleasantville stands for. I was touched and inspired by this film, and for all the right reasons. Although Ross occasionally directs with a little too much simplicity (his use of symbolism is usually quite obvious), Pleasantville never complicates or intimidates its audience. Imaginative, moving and entertaining, this marvelous Hollywood product should be a prime example of how special effects can be used to aid a story, and not the other way around. It would be silly for me to point out that films like Pleasantville are seldom found - that much is obvious.

Review © copyright Luke Buckmaster

    Read more of my reviews at In Film Australia
    http://infilmau.iah.net

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