Donnie Darko premiered at the Sundance Film Festival in 2001. Written/Directed by 26 year old (at the time) Richard Kelly and backed by veteran Drew Barrymore, the film sparked intrigue from the onset - earning nominations for best picture at Sundance and at the International Catalonian Film Festival. DD opened to the public in October of 2001 to a disappointing box office of $517,375. Being a month post 9-11 and a plot that begins with an airplane remnant falling from the sky, there was little interest in reliving anything close to the horror our nation had just experienced. Response to the film got interesting once the film hit DVD however. In conjunction with this release, a handful of art houses across the country began midnight showings and the cult-like following began.
Since arriving on DVD in 2002, the film has earned 10 times its theater earnings - raking in more the 10 million dollars. Within the last 5 years, DDhas slowly become this (adolescent) generation's anthemmuch like Breakfast Club did in the 80s.The real question is why? Well, along with the inevitable "what is" and "who is" questions"why" seems to be the common thread with any viewer and/or critic of DD. Questions quickly arise around the film's use of non-linear storytelling, a rampant amount of symbolism, the possibility of multiple versions of characters (Frank), and Kelly's love of Deus Ex Machina, which certainly does not help ease the density.
The film is so complexcountless theories have emerged in attempt to explain and/or give meaning to the visual experience. In fact, there are many theories that actually refute Richard Kelly's own commentary. And here lies the beauty of the film (in my opinion). Not only is their "much" dialogue around the filmthere are multiple viewpoints and/or "take aways" that are not only accessiblebut intentional. DD is a wonderful example of the "both/and". Multiple realities are at play the prominence of "fear" AND "love" the exploration of timethe "past" AND "future" AND "present" the possibilities of a "primary" and "tangent" universe the convergence of "human interaction" AND "the involvement of the transcendent" the irony of "life" AND "death" and so on. Life embodies the "both/and". It's complex. And complexity will often lend itself to the absurd. The rational and irrational have battled it out - and in many ways, it just does not make any perfect "sense". It just "is".
Now, back to the original question. Is there a correlation between Easter weekend and Donnie Darko? To be honest, I am hesitant in making direct associations. Christians are often quick to find the "Christ figure" and the Christian "meaning" out of a film and consequently often miss the broader experience. This said (and being a follower of Christ), DD undoubtedly explores questions of God's presence in the the hear and now; in many ways, it resurrects new visuals for questions frequently found in my own faith: What does life through death look like? Why am I interested in "something other" and/or the "transcendent"? Where does humanity's linear view of time merge with a God that is infinite? Why is life so complex? And the big question on hand in DD Does everyone die alone?
So, who/what/why is Donnie Darko? If you have yet to see it, I encourage you to do so if you have, what are your own thoughts? I think if there is anything conclusive about the film -- it is that interpreting the film "correctly" only concludes ones experience of the film and Richard Kelly would have nothing of the sorts:
"Maybe it's the story of Holden Caulfield, resurrected in 1988 by the spirit of Philip K. Dick, who was always spinning yarns about schizophrenia and drug abuse breaking the barriers of space and time. Or it's a black comedy foreshadowing the impact of the 1988 presidential election, which is really the best way to explain it. But first and foremost, I wanted the film to be a piece of social satire that needs to be experienced and digested several times."
