Description
Feature Film
Title:
Donnie DarkoRelease Date:
2001Genre:
Drama
Writer:
Richard KellyDirector:
Richard Kelly
Holy Week. Donnie Darko. Correlation? Some might question the appropriateness of associating a film such as this with the core of gospel story, but after watching it for the third time last week, I could not stop asking the question in light of the Easter weekend. So, what's up with this film? Well, those of you who have seen it understand that "something" is up. Those of you who have yet to experience it, a little background might be helpful.
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 anthem—much 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 complex—countless 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 film—there are multiple viewpoints and/or "take aways" that are not only accessible—but intentional. DD is a wonderful example of the "both/and". Multiple realities are at play… the prominence of "fear" AND "love"… the exploration of time—the "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."
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My personal take was that Donnie sacrificed himself to let the ones he loved live on. Which you could take as a "Christ" figure. But when I was looking for answers, I read that this was the most common misinterpretation. Without the website, I couldn't tell you what it really is.
Rumor is that Director's cut gives more details and background information (what the website used to give). Such as the fat man in the red jogger's suit is supposedly a government agent thats supposed to watch over Donnie (the regular version does not tell you that). I tried watching the director's cut, but when the opening music was different, I turned it off. The soundtrack is a HUGE reason why I love this film.
I wish the scene between Donnie and Mrs. Farmer and the discussion between love and fear was a bit deeper.
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Donnie: Life isn't that simple. I mean who cares if Ling Ling returns the wallet and keeps the money? It has nothing to do with either fear or love.
Kitty Farmer: Fear and love are the deepest of human emotions.
Donnie: Okay. But you're not listening to me. There are other things that need to be taken into account here. Like the whole spectrum of human emotion. You can't just lump everything into these two categories and then just deny everything else!
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Donnie starts to get passionate about it, but then suddenly the scene changes.
Anyways, I guess what makes this movie great is what different people get out of it. I do not think there is a clear answer as to if Donnie represents a "Christ" figure.