This article contains spoilers.
Heartbreak is a universal experience. When a heart breaks, we vacillate between hope and fear, anger and denial and a thousand fragmentary moments of grief. Uninvited memories persistently invade our days: memories of what was, what could have been and what will never be.
When writing Eternal Sunshine of the Spotless Mind (2004), Charlie Kaufman could not have known about the seismic impact of social media in years to come. How we now lurk on our former lovers鈥 profiles, view their photos, analyse their posts and remove images 鈥 metaphorically wiping the slate clean and willingly deleting our past.
This relatable angst of ridding ourselves of past memories of heartbreak is the premise of director Michel Gondry鈥檚 masterpiece, which is 20 years old this week.
With a non-linear narrative steering a rollercoaster script, this quirky, nebulous, joyous then rueful story is not for those who like their love stories simple. Gondry鈥檚 emotive film dares to confront the not so happy-ever-afters in a dark fairy tale which meditates on love and memory and the discombobulation of a broken heart.
We first meet Joel (Jim Carrey) as he abandons his daily commute for the opposite platform, to catch a train heading for the coast. It鈥檚 there, on a desolate grey beach, that he first sees Clementine (Kate Winslet), with her colourful blue hair. She introduces herself on the return journey with a sharp punch to the arm and a direct, unflinching intensity.
Shy, insular Joel is hooked and so are we. With the meet-not-so-cute established, the whirling storyline begins to loop and bend around time. Is this the beginning of the love story, or the end?
Can鈥檛 get you out of my head
We duly witness Joel鈥檚 agony and ecstasy through a collection of memories which ultimately end with the loss of Clementine. With her gone, Joel鈥檚 life loses its colour and verve.
He鈥檚 galvanised to win Clementine back, but is confused when she doesn鈥檛 recognise him. This leads him to discover that Clementine has had their entire relationship erased from her mind by the avuncular Dr Mierzwiak (Tom Wilkinson) and his eccentric team: an unusually chaotic Mark Ruffalo, Elijah Wood and Kirsten Dunst. When Joel decides to undergo the same procedure to shut out his own pain, the chaotic emotional conflict deepens.
The space between waking and dreaming become progressively intertwined with nightmarish depictions of Joel鈥檚 brain cleansing. Acid-coloured set design that exaggerates childhood memory, nightmarish Kafka-esque corridors of the mind and circus-like distortions exacerbate the effect.
In this anything-can-happen landscape, Joel鈥檚 desperation to hang on to his memories of Clementine becomes a driving force and the audience roots for their love, however dead it has seemed, to live on. We hope that they will outrun the mind-filtering process and come out ready to give love another try.
In real life, Gondry鈥檚 low-key, laidback and friendly persona big stars Jim Carrey and Kate Winslet to sign up for the quirky premise and his own relatively untested directorial vision.
Up until then, his main gig had been as for artists including The White Stripes, Bjork and The Foo Fighters. He had form as an imaginative and experimental auteur, but the one previous cinematic outing that he and Kaufman had created, the Tim Robbins and Patricia Arquette comedy Human Nature (2001), resulted in an underwhelming box office and a .
When Carrey first met Gondry to talk about the project, he was reportedly in a state of brokenness after coming out of a relationship with fellow actor Renee Zellweger 鈥 something that Gondry for the character of Joel. Gondry saw the actor as the opposite of the ebullient, anarchic character he mainly portrayed and as someone who stood apart from the crowd. a lonely moment he had once seen of Carrey standing to the side during the credits of Saturday Night Live, as others danced and celebrated.
Winslet, doyenne of many a period drama by that point, took on the more conventional Carrey-esque role of Clementine, showcasing hair of many colours throughout the movie, and a changeable personality to match. Her performance was revelatory and ultimately the gamble of going against casting type paid off, winning her a best actress Oscar nomination.
Gondry and Kaufman for best screenplay. In later years, Kaufman to subvert narrative structure with advice seemingly tailored to his experience of Eternal Sunshine: 鈥測our dreams are very well written. Approach your work like your dreams would and throw away conventional approaches.鈥
intones Shakespeare in Love鈥檚 Labour鈥檚 Lost, and nearly all romantic comedies end on such a 鈥渉appily ever after鈥 But in Eternal Sunshine, Gondry鈥檚 gift is to present us with love as it often really is: a messy, painful experience that fans the flames of hope, connection and intimacy in us all.
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, Course Leader, BA (Hons) Screenwriting; Deputy Course Leader & Senior Lecturer, BA (Hons) Film Production,
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