Silver Linings Playbook, is one of David O Russell's many great films. A story of a bipolar man Pat(Bradley Cooper) released from hospital against psychiatric advice, trying to rekindle the relationship with his wife, upon the way meeting a girl Tiffany( Jennifer Lawrence) who is apparently just as delusional as him. Upon their meeting Tiffany agrees to write him a letter to get him back the love of his wife Nikki, in exchange for his promise to be her partner in a dance competition, all theatrics unfold as the bonding process begins. This honest and exciting romantic comedy tops it’s genre. It excels in the comedy aspect with a tinge of much deserved satire, but unfortunately doesn’t dodge romance movie cliches.
When Cooper isn’t running away from Lawrence down the street in a trash bag he’s having manic episodes about his imagined current wife’s Nikki’s affair, and the incident that landed him in a mental institution. Lawrence gives an awesome portrayal of a widowed woman, desperate for Pat’s romantic partnership who she perceives to be her equal, and an attitude towards sex and life in general. De’Niro doesn’t trail to far away from his usual characters: a loud, not afraid to swing at his own son, sports lovin’ patriarch of the household. Though this time with a sensitive caring towards his son Pat, and hustling in an illegal bookmaking business. Jacki Weaver’s adds comedy to her role as Pat’s mother Deloris and plays a believable role as wife and mother in frenzy over the explosive patterns of her son and husband. Every character in Silver Linings brings their own significance, wittiness, and comedy to the story. Supporting characters Anupham Kher as Pat’s reasonable and understanding therapist, Chris Tucker as Pat’s questionably more insane than he is outrageous friend from the mental hospital, and a surprising appearance from Julia Stiles ( who stars in the youtube series Blue) as Tiffany’s older successful sister. Without this flavorful salad of characters this movie would seem unilateral and un relatable, but the valuable characters bring this movie close to home, for example the flawless background characters at the Eagle’s game echoed sports fan spirit.
Compared to Russell’s previous film, The Fighter, Russell follows the same handheld cinematography, with plenty of follow shots. The sunny middle class predominantly white neighborhood and characters mirrors the mise-en-scene of The Fighter, it’s just shot in the suburban township of Upper Darby and Landsdowne. As someone who lives and grew up in the very neighborhoods this film takes in place it was spiriting and quite funny to see the YMCA, Upper Darby High School, Eagles Stadium, and the giant Drexel rd. houses that compose the setting. It gave it a feel as if one was staring directly down the street. Russell’s camera work style is definitely a mise-en-scene of a David O’Russell movie. Seeing as his previous film The Fighter, was shot by Hoyte Van Hoytema, and Silver Linings Playbook was shot by Masanobu Takayanagi, we can see that Russell's intentions are with this type of photography is to create an intimacy with the characters. A type of intimacy which in this movie sparks you into the black comedic aspect of every corner you sit spying on Tiffany having a romantically frustrated meltdown around Christmas lights and elevator music. The cinematography is designed to make you feel that you are chasing the characters, because these are events that are actually happening in someone’s life. The cinematography steals these tricks from reality t.v. and uses them for a more artistic and creative purpose. While television show producers are using film as a blueprint for prime time, it’s here we can observe that where two mediums of expression exchange ideas.
While Silver Linings is a good movie it doesn’t avoid the underlying myths of romantic comedies. The lie that for every woman there is a man, for every crazy woman there is a crazy man is questionable, but propagated here.While Tiffany also suffers from past trauma, and has been on the same medications as Pat she seems to be in a worse off and far different position than him. It’s questionable whether her character actually makes a self-beneficial transformation while Pat seems to benefit substantially.The romantic aspect of Tiffany and Pat’s relationship seems to be that of sado-masochism. We have Tiffany, insecure, self-destructive at times aggressive and emotionally delicate whose trauma stems from her belief that she is not worth loving, the one who has to walk down the street in painful heels and black-eye make-up that makes her look ready to be someone’s punching bag.We have Pat emotionally unstable with a past of violence but definitely more into self preservation, and an obvious superior feeling in leading on, toying with, and eventually capturing Tiffany because she’s attractive and doesn’t make Pat work for her like his previous wife Nikki. Yet unfortunately she’s been emotionally traumatized, is a widow, and promiscuous so that degrades her in his eyes, thus the plot. Is Tiffany’s sexually loose past, dramatic outbursts, and constant referencing of herself by others as a “slut” and “whore” supposed to be funny? Apparently it is.
Silver Lining’s PLaybook is a cute and witty movie, but definitely doesn’t stir away from typical romance story lines, in which the male character’s success and growth overrides that of the female’s while it is based off of the female. While Tiffany’s character is too imperfect to be a manic pixie-dream girl, mechanistically her character serves that purpose.
When Cooper isn’t running away from Lawrence down the street in a trash bag he’s having manic episodes about his imagined current wife’s Nikki’s affair, and the incident that landed him in a mental institution. Lawrence gives an awesome portrayal of a widowed woman, desperate for Pat’s romantic partnership who she perceives to be her equal, and an attitude towards sex and life in general. De’Niro doesn’t trail to far away from his usual characters: a loud, not afraid to swing at his own son, sports lovin’ patriarch of the household. Though this time with a sensitive caring towards his son Pat, and hustling in an illegal bookmaking business. Jacki Weaver’s adds comedy to her role as Pat’s mother Deloris and plays a believable role as wife and mother in frenzy over the explosive patterns of her son and husband. Every character in Silver Linings brings their own significance, wittiness, and comedy to the story. Supporting characters Anupham Kher as Pat’s reasonable and understanding therapist, Chris Tucker as Pat’s questionably more insane than he is outrageous friend from the mental hospital, and a surprising appearance from Julia Stiles ( who stars in the youtube series Blue) as Tiffany’s older successful sister. Without this flavorful salad of characters this movie would seem unilateral and un relatable, but the valuable characters bring this movie close to home, for example the flawless background characters at the Eagle’s game echoed sports fan spirit.
Compared to Russell’s previous film, The Fighter, Russell follows the same handheld cinematography, with plenty of follow shots. The sunny middle class predominantly white neighborhood and characters mirrors the mise-en-scene of The Fighter, it’s just shot in the suburban township of Upper Darby and Landsdowne. As someone who lives and grew up in the very neighborhoods this film takes in place it was spiriting and quite funny to see the YMCA, Upper Darby High School, Eagles Stadium, and the giant Drexel rd. houses that compose the setting. It gave it a feel as if one was staring directly down the street. Russell’s camera work style is definitely a mise-en-scene of a David O’Russell movie. Seeing as his previous film The Fighter, was shot by Hoyte Van Hoytema, and Silver Linings Playbook was shot by Masanobu Takayanagi, we can see that Russell's intentions are with this type of photography is to create an intimacy with the characters. A type of intimacy which in this movie sparks you into the black comedic aspect of every corner you sit spying on Tiffany having a romantically frustrated meltdown around Christmas lights and elevator music. The cinematography is designed to make you feel that you are chasing the characters, because these are events that are actually happening in someone’s life. The cinematography steals these tricks from reality t.v. and uses them for a more artistic and creative purpose. While television show producers are using film as a blueprint for prime time, it’s here we can observe that where two mediums of expression exchange ideas.
While Silver Linings is a good movie it doesn’t avoid the underlying myths of romantic comedies. The lie that for every woman there is a man, for every crazy woman there is a crazy man is questionable, but propagated here.While Tiffany also suffers from past trauma, and has been on the same medications as Pat she seems to be in a worse off and far different position than him. It’s questionable whether her character actually makes a self-beneficial transformation while Pat seems to benefit substantially.The romantic aspect of Tiffany and Pat’s relationship seems to be that of sado-masochism. We have Tiffany, insecure, self-destructive at times aggressive and emotionally delicate whose trauma stems from her belief that she is not worth loving, the one who has to walk down the street in painful heels and black-eye make-up that makes her look ready to be someone’s punching bag.We have Pat emotionally unstable with a past of violence but definitely more into self preservation, and an obvious superior feeling in leading on, toying with, and eventually capturing Tiffany because she’s attractive and doesn’t make Pat work for her like his previous wife Nikki. Yet unfortunately she’s been emotionally traumatized, is a widow, and promiscuous so that degrades her in his eyes, thus the plot. Is Tiffany’s sexually loose past, dramatic outbursts, and constant referencing of herself by others as a “slut” and “whore” supposed to be funny? Apparently it is.
Silver Lining’s PLaybook is a cute and witty movie, but definitely doesn’t stir away from typical romance story lines, in which the male character’s success and growth overrides that of the female’s while it is based off of the female. While Tiffany’s character is too imperfect to be a manic pixie-dream girl, mechanistically her character serves that purpose.