THE AISLE SEAT - "PLEASANTVILLE"
by Mike McGranaghan
When I walked into Pleasantville, I was expecting an amusing, unassuming light comedy. The film's premise - two 90's teens get sucked into an idyllic 1950's TV show - seemed promising for a few laughs. Walking out of the theater, I was floored, because Pleasantville is so much more than I expected. This is far from a brainless comedy; it is a brilliant piece of social satire that explores a lot of interesting ideas, but always remembers to make you laugh.
In the early scenes, we meet the two central characters, fraternal twins named David (Tobey Maguire) and Jennifer (Reese Witherspoon). David is shy and kind of geeky, whereas Jennifer could politely be called sexually active. One evening, the siblings bicker over what to watch on TV. Jennifer wants to watch MTV, while David wants to watch an all-night marathon of "Pleasantville" on one of those cable stations devoted to old TV reruns. As they argue, a television repairman (hilariously played by Don Knotts) knocks on the door. Without giving away too many details of his function, the repairman does something that beams David and Jennifer out of the real world and into the old TV program.
"Pleasantville" - the show - is a cross between "Leave it to Beaver" and "Father Knows Best." It has a hard-working father named George Parker (William H. Macy), a mother who's always cooking a big dinner in her Sunday best (Joan Allen as Betty), and a local soda shop owner named Mr. Johnson (Jeff Daniels) who is good-natured but kind of oafish. And, of course, the picture perfect teenagers who ooze decency and integrity. Everyday is sunny and warm, and no one ever experiences anything bad. Naturally, David and Jennifer don't fit in, and it doesn't take long for them to unintentionally start corrupting the citizens of Pleasantville (Jennifer is particularly appalled to discover that the local boys don't understand sex).
It is at this point that Pleasantville does something unusual. Once zapped into the TV, the film switches to black-and-white photography. But as the townspeople are introduced to more passionate emotions, color slowly starts to enter their world (at times, B&W characters interact with full-color ones). David and Jennifer awaken new ideas in the citizens, making them question things they once took for granted ("What's outside of Pleasantville?") and discover entire new worlds of art, literature, and sex. Some embrace the new visions and color scheme, while others - such as Chamber of Commerce head Big Bob (J.T. Walsh) - fear its influence.
I figured Pleasantville would spend two hours making fun of the unrealistic way old television shows portrayed people: everyone happy all the time, married couples sleeping in separate beds, the teenagers surprisingly chaste and well-mannered. And, in fact, the film does takes some very funny shots at the absurdity of those depictions. However, the story runs deeper than I expected. It exists as a debate over society's oft-held belief that life was more preferable in "the old days." The central question is: were we really better off back in the 50's than we are today? The characters grapple with that very enigma. David actually likes living in the repressive, sanitized Pleasantville (for a while, at least), whereas Jennifer thinks the people need to experience liberation. The movie is really clever in the way it uses a decades-old rerun to serve as a microcosm of society. Writer/director Gary Ross (who penned the equally clever movies Big and Dave) has made a film that works both as a straight comedy and as a political satire.
Along the way, Pleasantville touches on issues such as racism, feminism, and - believe it or not - fascism. What's really interesting is the way it explores the changing role of women in society. Betty is initially the old-fashioned housewife, perpetually in the kitchen preparing meals for her husband. Once she develops some passion (and color) in her life, she doesn't want to remain in her traditional role. This causes no end of grief for George who comes home one day to find - gasp! - there's no dinner on the table! One of the things I like best about the movie is that it doesn't use its premise as a gimmick. Ross has created a unique concept as a way of looking at how society's values have changed in the last four decades.
Although it definitely can be interpreted politically, the film also works on the level of sheer fun. There are many great moments of humor throughout, and the visual contrast between the black-and-white world of Pleasantville and the new-found Technicolor passions of its citizens is thrilling. I also enjoyed the tiny little details of 50's TV shows that the movie parodies just right (the bathrooms have no toilets because, of course, you could never show somebody using one).
I was really pleased to discover that Pleasantville is much smarter than I had expected it to be. But perhaps the best thing about it is that it works so successfully on two levels. If you are looking for a thoughtful, witty satire packed with intelligent ideas, this is the movie for you. On the other hand, if you just want a really enjoyable comedy that's worth your seven bucks, this is also a good choice. All the way around, Pleasantville is a must-see movie.
(
out of four)
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