I have decided to attempt a series of articles on existentialism in film. There are few ways this movement can manifest itself in film, some are more obvious than others. It seems easier to group them by the way the existential issues are handled and in what manner the characters are aware of it. This is a necessarily incomplete list. The first group I will address are films with an existential theme.
Films Themes Raise Existential Questions
Taxi Driver being influenced by Dostoevsky (particularly Notes from Underground), its psychological examination of character is hardly surprising. Travis is a lonely person and throughout the film tries to overcome his lack of purpose in life and nihilism. The film ends violently and he enjoys being a hero for a day, but it is implied that he still is slipping back into insanity and nihilism. This is perhaps an example of a “failed” existential film.
A Scanner Darkly is the story of an undercover police officer Bob Arctor aka Fred. Due to drug use, he is becoming increasingly confused at his situation and his identities begin to disassociate. He also is a pawn in the larger picture of a “war on drugs”. His quest for self knowledge is a losing battle as his personality and grip on reality are destroyed. The only ray of hope of personal choice is in the ending scenes – but the cost Bob as paid is very high. (”A present for my friends…”)
Fight Club covers a great deal of ground and is better known for anti-consumerism and anarchism. For the unnamed protagonist (informally called “Jack” by commentators), he starts in a similar place as Travis of Taxi Driver – lonely, suffering insomnia, lack of meaning, etc. He fills this void for a time with being a “tourist” at support groups, “Fight Club” itself and its spin off movement “Project Mayham”. All these are collectively trying to deal with changes or loss in personal identity in a group setting. In the last scenes, he takes responsibility for his actions but at the same time repudiates them. The ending is left open ended but hints that he can experience healthy personal relationships (finally).
Apocalypse Now is a monument to moral relativism. Willard is a troubled covert operations soldier. This superiors tell him about Kurtz – a former model soldier who has being using “unsound methods”, which euphemistically refers to his going completely “insane”, having a private army that worship him as a god and practising human sacrifice. Willard’s orders are to “terminate” Kurtz’s command. On his way up the river, he sees the insanity of the Vietnam war. It is hinted that Kurtz actually is still effective as a soldier and is a fierce critic of the conventional American war effort. The question is who is insane: Willard, Kurtz, the generals running the war, or all of the above? When Willard meets Kurtz, he sees Kurtz is a haunted individual who is questioning his own identity. And the end of the movie, Willard is so isolated from conventional moral standard, he is faced with his own existential question of what to do next…
Other notable films: Magnolia, Ghost World, Eyes Wide Shut, The Unbearable Lightness of Being (the book explicitely deals with existentialism, the film less so), His Dark Materials, The Machinist, American Beauty, Adaptation
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