I tried writing a little more about Eternal Sunshine this morning and found myself really struggling. There’s something about Charlie Kaufman scripts that seem to really have me empathising to a degree that makes successful articulation of my emotional and intellectual response very, very difficult; the same was true for Adaptation, which was generally thought of to be an inferior film, and even, to a lesser extent, Being John Malkovich, which was excellent but slightly sillier.

Here’s what it was about, I think, in as much of a nutshell as I can get: it was a story about true love, but the film was really about second chances. It was about learning from our mistakes and how we can’t if we forget, about accepting certain realities about who we are and our own limitations, and ultimately, it seemed to me that Mr Kaufman believes that love will find a way.

It’s not a naive sentiment; the film explores the issues of true love in the context of the complications of real human interaction, dark edges and all. In fact, most of the film is dark edges; but casting those shadows, I think, is an uber-metaphorical ultra-poncey sunshine of optimism.

It’s really, really good. And I do love Kirsten Dunst, and Kate Winslet both. Wonderful. And Jim Carrey gets whole new respect from me; I’m not one of those who harbours an irrational dislike for the rubber-faced comedy actor: in fact, seeing him in The Truman Show and The Majestic demonstrated the breadth of his range. This movie really shows him at his best.

Complete aside: I also saw the trailer for the new Coen brothers film, which looks like it could be entertaining, especially if you like Tom Hanks.

Even if it hadn’t been Kirsten Dunst (for whom my love is REAL, I tell you) reciting these lines, they’d still have been beautiful. What a film. I’ve never seen anything quite like it.

More tomorrow.

“How happy is the blameless Vestal’s lot!
The world forgetting, by the world forgot
Eternal sunshine of the spotless mind!
Each pray’r accepted, and each wish resign’d. ”
                           — Alexander Pope

[Listening to: my own thoughts (6:42)]

…other than the fact that her name’s ludicrously hard to spell?

Everything.

But its because of Secretary, the 2002 movie by little-known director Steven Shainberg, that I’m saying this.

Finally seen yet another in my list of movies-to-be-seen (I will watch Donnie Darko v. soon!), and deeply enjoyed it. Here’s what you get: recently discharged from a mental institution, from a family imposed stay following their near-fatal discovery of her more self-damaging tendencies, Lee Holloway (Maggie-dear) looks for a way to put meaning into her life, and begins to find it in the routine tedium of an administrative job. “It’s boring, very boring. You’re over qualified, really,” says Mr Gray (James Spader), clearly selling the job well. “I like boring,” is Lee’s simple reply, and on they go. What follows is an absolutely bizarre courtship, complicated by Lee’s semi-autistic fiancee (also the victim of a nervous breakdown), and the progression of Mr Gray’s relationship with Lee Holloway from curt boss and fragile employee to (literal) sadist and (literal, but empowered) masochist.

And then they fall in love.

I don’t know how this holds up in terms of authenticity, but the film does what I require from film: it tells a story well, with believeable (albeit improbable) characters and a strong narrative drive, with superb acting on all parts, even the more minor characters. Jeremy Davies, who plays Peter, Lee’s fiancee, provides the same delightfully quirky semi-autistic performance he gave in Solaris, Steve Soderbergh’s remake of the 1972 movie of the same name. Maggie and James are both solid, too.

Highly recommended (though probably not for younger audiences).