Cheap Eternal Sunshine Of The Spotless Mind (Widescreen Edition) (DVD) (Michel Gondry) Price

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Customer Reviews of Eternal Sunshine Of The Spotless Mind (Widescreen Edition)

Amazing... You will either love it or hate it
The acting of this movie is amazing, especially Jim Carey's acting and his ability to show the range of emotions - hurt, pain, anger, rage, the wrestle betwen forcing the memory out of the mind and the difficulty of letting go. <
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>Inspiring is the only word I can explain about this movie. If you have a scientific mind who loves to rationalize, this movie is complex for you and you will not understand the morale behind the film. Nothing wrong with you but this movie is not your kind. But if you are an artist who understands a variety of deep emotions and the pain one goes through in relationships, you will fall in love with the movie. <
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>Lesson learned in this movie is that memory cannot be erased because they are too painful. You cannot try to forget the memories because it is stored in your brain, your soul. Every time you try to erase your memory, your soul is crying and struggling. When you try to shut them away, there is always more coming back. If you think you can erase your painful memories in order to "gain" the spotless, perfect mind, you can never achieve it because your mind, your soul is still crying, struggling between storing and forgetting. It is painful enough to go through a break up. But why are we doing this to ourselves trying to forget the memories, hoping the pain attached to it is removed? Why do we put ourselves through so much struggle? The movie proves a point that no matter how advance science is, we still cannot remove memories and pain out of our mind, our heart. Instead of using advance medical equipment and the brightest scientists to erase memories, we human beings get engaged into all kinds of self medication methods trying to forget the pain (rebound relationships, exercising, alcohol, work, TV, video games, sex, keeping ourselves "busy", getting to involved into others' lives). The pain seems numbed and erased but it is stored subconsiously somewhere else, waiting for something/someone to trigger it back. <
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>Heartbreaks are painful, extremely painful. Our hearts are fragile but it can be healed. The only way to heal the painful suffering experiences is through grieving. Honor your pain and honor your memories. Don't shut it away because memories won't just go away no matter how clever you are. Pay every one of your emotions full respect and experience it. Let yourself cry when needed. Let yourself write and draw when needed. Don't shut yourself down but be gentle to yourself. Love yourself and listen to your pain without judgment. The pain seems forever to heal but it is not true. One day, eventually one can wake up in the morning realizing the memory are still stored in the mind, but the pain has left leaving a scar. Scars are like beautiful tatoos on our body to appreciate. The moment of drawing the tatoo on our body is painful. But when you have healed from the pain, you will appreciate the piece of art crafted in your emotional body. That piece of art is attached to you till the day you die. Just like the learned lessons that will be attached in your mind till the day you die. People can only grow out of painful experience or running away from the pain. When you run away, you will find the experience coming back and haunt you. The pain will be triggered some point in the life time again. When you grow out of the painful experience, you become empowered and fearless about life. <
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>Thank you for reading my review. <
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Absolutely spotless
It is, despite the Truman Show, still a bold move to cast Jim Carrey in any movie that doesn't require outrageous slapstick. Here, Carrey is not just required not to gurn, but to play the most anally retentive character in the film. As a concept, you would think, that would be madness. But, and with a surprising amount of ease, it works. Carrey is credible and likeable as the everyman Joel Barish. Just as Joel is believably uptight (bearish, even?), Kate Winslet's Clementine is believably flaky, and their relationship (besotted at first, but ultimately at wits' end with each other) rings very true. <
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>This film is not principally concerned with the memory eraser process. That is simply a device which allows the film maker to explore what would happen if two people who have grown apart really did make the proverbial fresh start without the complications of their existing history interfering. The conceptual holes that misunderstanding pedants might seek to pick are intended rather to underscore the point that this really isn't possible. The screenplay also explores the converse situation: what might happen if two people who, having just met and still in the throes of infatuation, are confronted with the reality of what life will be like down the track when, as the late Ian Curtis put it, "routine bites hard, and resentment rides high". Armed with that knowledge, would they still really give it a shot? It's a good question, and one which in real life never gets properly asked. <
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>Given the preponderance of "twist" movies in the last five years, I was interested to see that Kaufman deliberately defused a plot twist before it went off by presenting Joel's reconciliation with Clementine before showing their original separation. I wondered, for a while, why he did that, but I think there are two reasons. Firstly, to have the characters fall out of love, erase their memories and then miraculously meet up again as a denouement would be too cheap and manipulative - an audience of the sort Kaufman aspires to attract would see right through that and mark the film down heavily as a result. Secondly, the *fact* of their meeting up again, of itself, isn't what Kaufman is interested in: rather it is the presentation of their forgotten history once the meet-up has taken place. By giving up that fact before the commencement of play, Kaufman can disarm accusations of cheesy sentimentality. <
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>A large portion of the film takes place while Joel's memory is in the process of being erased. This allows Kaufman to place a (post-modern) tragic love story in the middle of a film about a couple who have already fallen out of love: Joel knows that, by his own intemperance (in commencing the erasure process in the first place), everything of his relationship (good as well as bad) will be lost as surely as if Clementine has died. As the process wears on, the more her sins pale into significance and they resemble star cross'd lovers, dashing from room to room avoiding the inevitable onset of sleep. <
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>There were two minor things I didn't understand. Firstly, while most of the medical characters were plot-functional, I couldn't fathom the Patrick character. I couldn't see what his point was, other than to assist Elijah Wood to de-typecast from a furry little hobbit. Query, though, whether "oily little creep" is the sort of type he really wants to be moving into. Secondly, unless I misheard, at one point Joel Barish was referred to as "still Mrs. Carrey's little boy". Was this a continuity error, or simply a playful bit of screenwriting from Mr Kaufman? <
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>I suspect we will never know. <
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>Beautifully shot and imaginatively staged, this one is definitely a keeper. <
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>Olly Buxton