# Requiem for a Dream (2000)

### reviewed by
Laura Clifford

    REQUIEM FOR A DREAM
    ------------------

Sara Goldfarb's (Ellen Burstyn) dream comes true when she's invited onto her favorite game show. Her son Harry's (Jared Leto, "American Psycho") dreams are shared with his girlfriend Marion (Jennifer Connelly, "Dark City") and best friend Tyrone (Marlon Wayans) when the perfect heroine score presents itself. But drug addiction will destroy the dreams of not only the obvious younger generation, but the Jewish Brooklyn housewife as well in director Darren Aronofsky's ("Pi") "Requiem for a Dream."

    LAURA:

Writer/director Darren Aronofsky allows just the briefest glimpse of hope before taking his audience on an unrelentingly dark descent into the ravages of drug addiction (as adapted from the Hubert Selby Jr. novel). Although he's graced by a tour de force performance from Ellen Burstyn and career high turns from Leto, Connelly and Wayans, the film is a stylistic achievement bearing a shopworn message.

We're introduced to Sara as she cowers in a locked room while her son 'borrows' her beloved television to fuel his drug habit. Once he's flush from a once-in-a-lifetime score, he buys her a fabulous new television, but is alarmed to learn his mom's become an amphetamine junkie courtesy of a local 'diet' doctor. Her game show dreams will not be complete unless she can fit into a special red dress worn on a family occasion twenty years ago.

Of course, Harry also neglects his own advice and dips into his own stash, losing his fortune and forcing Marion back into the arms of Arnold (Sean Gullette, "Pi") to secure cash. This is just the beginning of all three's far worse fates.

Aronofsky's film seems a throwback to the 70's, a feeling he intensifies with his use of split screens, retro costume and art direction, and the casting of Louise Lasser as Sara's friend Ada. Current flair is also apparent in some MTV style editting (each needle set up is preceded by the same jangly, flash-paced montage ending with a dilated pupil) and the in your face bleakness which is depicted (the film's climax, which features a two-woman anal sex show, amputation, forced feeding and shock treatments earned the film its NC-17 rating).

Burstyn is fabulous as the meek, naive housewife who loves her only son. Her harrowing decent into madness is jolting, like you were watching a kindly elderly relative enter hell. Leto retains sympathy by letting the true love he feels for his mother shine through. A genuine family bond can be felt between the two. Jennifer Connelly simply has never been better as Marion, an artist estranged from her bourgoise family who loses every shred of human dignity by affixing her star to Harry. She's never more affecting than when she begs Harry to return home over the phone before going dead-eyed at the realization of what she'll need to do to get her next fix. Wayans is also good, if underutilized, as Ty, who also reflects on the love of a single mother.

Technically, the film is well done with a unique style. Particularly admirable is the editting by Jay Rabinowitz, who keeps the dual stories moving forward coherently, often spending only seconds with Sara before cutting to Harry. Sara's Coney Island neighborhood lends real character to the film. Kronos Quartet provide strings (which actually get a bit overwrought, but I think that was the point).

As well done as this was, I found myself walking out thinking, hmm...drugs are bad. The film has none of the humor found in recent drug films such as "Trainspotting" and "Sid and Nancy." It will put you threw an emotional wringer even as you're wondering what the point is.

    B

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