IV...
THEMES
As
described earlier, particularly in Part's 2 and 3, loneliness
and isolation are key themes within Barry's character and Punch-Drunk
Love's overall artistic visual and emotional expression. Through
the use of colors, music, sounds, symbolism, and camera work,
Punch-Drunk Love physically and emotionally expresses the isolated
state of Barry's character. Barry is often represented through
unconventional visual and emotional narrative. The feeling of
loneliness is captured through the framing and composition of
Barry, who is often seen isolated within an environment of space.
The expression is usually heighten through the use of colors,
sounds, music, and visual symbols.
One
of the significant aspects of Barry's emotional state that is
not necessarily expressed through visual narrative (such as colors
or symbols), yet is certainly evident is his insecurity. Barry's
loneliness and isolation, as well as the suffering of his seven
sisters endlessly ragging him, has put Barry in a state of emotional
insecurity and self-doubt. When Lena arrives to him, his emotions
build and he's consumed by his own self-doubt. Barry wants to
believe Lena's intentions are good, but because he is so unsure
of himself, he's just not certain why Lena is interested in him.
As
Barry's relationship or harmony grows with Lena (and the harmonium),
his inner-confidence and strength grow. In the end Barry self-doubt
and insecurity is redeemed through his love, and this captured
both when Barry stands up to his sister on the phone in Hawaii,
and when he confronts Dean in Utah.
Barry's
emotional, psychological, and physical state are that of loneliness
and isolation, but through the use of colors, and compositions
Barry is also represented in a state of entrapment. In many ways
Barry is closed from the outside world and this is expressed several
different ways visually: Most notably through environment and
space, as well as the use of the color white, representing his
entrapment. However, one other way this is expressed visually
(and rather subtly) is the use of glass that is prominently featured
surrounding Barry, almost as though he is literally trapped. Take
for example the scene in which Barry is on the phone with his
sister who his reminding him to come to the party. When he hangs
up he turns around to leave his office but walks directly into
the glass door. Now this is a very funny sequence (highlighted
by Adam Sandler's Keaton-esque physical comedy, as well as Luis
Guzman background comedy). However, it also represents a key element
of Barry's emotional and psychological characterization. Through
the tormenting of his sisters (which include calling him "gay-boy"
and recalling him throwing a hammer through a sliding glass(!)
window), as well as his own self-doubt and loneliness Barry is
trapped within himself.
Punch-Drunk
Love is a film that can also be viewed as a social commentary
in some ways, or at least in terms of what it represents. It's
a film that speaks of finding individuality and freedom within
a society of conformity. Barry lives in a society which encourages
individuality, yet expects and pressures an individual to conform
into its system (thus eliminating individuality). Through this
pressure of society Barry tries to conform within the system by
working and talking on the phone yet at the same time he's out
of the system because he's lonely and different. He is a lost
soul searching for individuality and freedom from the pressures
of a system of conformity. It is Lena, herself a lost soul, that
helps Barry break free into individuality. For Barry and Lena,
it is finding and falling in love that manages to find their freedom
and individuality. Perhaps this is best described in the lyrics
of Amiee Mann's song, Save Me, which is used at the end
of Anderson's Magnolia: "C'mon and save me. Why
don't you save me. If you could save me. From the ranks of the
freaks. Who suspect they could never love anyone. Except the freaks.
Who suspect they could never love anyone. Except the freaks who
could never love anyone."
It
is loneliness, isolation, insecurity, and entrapment that express
Barry's emotional and physical state, but it is love which serves
as his strength and ultimately his redemption and his individuality
within a conforming system. Above all, Punch-Drunk Love is a film
of love: both finding and falling in love. Like most of the film,
love is not expressed through conventional narrative or plot,
but through visual and emotional artistic expression of Anderson's
cinematic language. Barry's love is expressed towards the end
of the film when he returns from Utah (where his love gave him
strength to stand-up to Dean) to Lena's apartment (with the harmonium).
He tells here: "I'm so sorry. I'm so sorry I left you
at the hospital. I called a phone-sex line... I called a phone-sex
line before I met you, and four blond brothers came after me and
they hurt you, and I'm sorry. Then I had to leave again because
I wanted to make sure you never got hurt again. And I have a lot
of puddings, and in six to eight weeks it can be redeemed. So
if you could just give me that much time, I think I can get enough
mileage to go with you wherever you go if you have to travel for
your work. Because I don't ever want to be anywhere without you.
So could you just let me redeem the mileage?". A lovely
little monologue that is both funny and sweet, and ultimately
perfect in capturing Barry's feeling of love for Lena.
As
previously described, Punch-Drunk Love is film of finding and
falling in love, and through Anderson's filmmaking is expressed
almost as a harmony captured on film. The harmonium represents
a symbol of love and as the harmony between Barry and Lena grows,
so does their love and relationship. This is an indescribable
emotional feeling that is perfectly described in the film's title,
Punch-Drunk Love. It's is the harmonium which both connects and
represents their love, and it is the visuals, colors, sounds and
music which capture their feeling of love. Punch-Drunk Love very
much shares the emotional and visual spirit of a Hollywood musical
and the expression of the film is that harmony and love are (like
Barry and Lena) connected.
A
mysterious and rather odd theory of the film has been suggested
that Lena is an alien. While I don't really believe this theory
to be important or even relevant for the film, there is some evidence
to support the theory. According to theories and sources from
the website ptanderson.com, Punch-Drunk Love originally
intended an alien-related storyline and set designs which were
eventually taken out of the film. There is some evidence to support
the theory that Lena is an alien and the crash in the opening
represents her arrival on earth, including the television sets
which are playing the Apollo moon landing, or the alien-like flares
seen throughout, or even the DVD Chapter titles "Lena
Drops" and "Alien Abduction". On his
website (ptanderson.com) Anderson was asked about this
and his response was perfect: "I stand by that. Have you
ever met anyone as lovely as Emily Watson that WASN'T from outer
space?" This is such a perfect response because Anderson
answers the question while still leaving the mystery and interpretation
there. Really if this theory were to be true, wouldn't it be more
effective left mysterious, personal, and as nothing more then
a theory.
Ultimately
my interpretation of the theory is that though there is some evidence
to support it, I believe the expression more as Lena symbolically
representing an alien-like figure to Barry. She is beautiful,
mysterious, and new to Barry's life. Though I don't necessarily
agree with it, I will say it is an interesting theory, which is
nothing more then a theory, that ultimately further speaks of
the depth of Punch-Drunk Love's endless artistic expression.
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