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Lars
and the Real Girl is quite the
oddball tale. The synopsis is as follows: Lars (Ryan Gosling) is
a courteous yet terminally withdrawn young man who - despite the
best intensions of his sister in law Karin (Emily Mortimer) and
obvious affections of co-worker Margo (Kelli Graner) - just wants
to be left alone. In an attempt to subside his crippling loneliness,
Lars purchases a blow up doll which he parades around town as his
girlfriend to the shock of his family and friends, who are urged
by town psychiatrist Dr. Dagmar (Patricia Clarkson) to go along
with his delusion.
With such brilliantly risqué, bizarre material - courtesy
of Six Feet Under scribe Nancy Oliver - Lars and
the Real Girl could have became an exploitive picture about
schizophrenia. One false step is all the difference between a brilliantly
off the wall film about an extremely introverted man slowly coming
out of his shell, and a sex comedy farce about a man and his blow
up doll. Yet under the watchful eye of long time commercial director
Craig Gillespie, the films main subject of mental illness is given
the proper respect while also providing bright nuggets of comedic
gold.
A big reason for the films success is due to Ryan Gosling's amusing
and sympathetic performance, whose portrayal of a fragile young
soul drowning in repressed emotions is simply heartbreaking. From
his moustache and knitted sweater combo look to his awkward mannerisms
and twitches, Gosling's ability to inhabit his character with meticulous
precision and unflinching humility works wonders for his character.
Exceptional support is provided by Paul Schneider who plays Lars'
remorseful older brother and by Emily Mortimer who is especially
good as the kind hearted, strong willed sister in-law.
The films many cringingly awkward scenes (such as when Lars introduces
Bianca to his shell shocked family) are counter balanced by many
touchingly sweet moments, (how these people open their hearts to
Lars' dilemma is tragically beautiful). And as they feed into his
delusion and embrace Lars' new friend, so to does the viewer. This
is mainly because - much like Wilson the volleyball from Cast
Away - Bianca the blow up doll feels like a real character
(perhaps there should be an Academy Award for Best Inanimate Object?)
Granted, a suspension of belief is needed for such a film to truly
take hold (especially in the last 15 min). But if inhibitions are
let go, then an enjoyable and moving cinematic experience will be
had.
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