Life Through the Lens: Life can only enter through an open door
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"I have so much strength in me, you have no idea."
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A door. I can't think of many things more symbolic than a door.
It is, by definition, a barrier -- a purposeful and controllable obstacle designed to obstruct the outside world. It is meant to keep you safe from threats, from danger, and from the unpredictable.
A door protects what you call precious. A door stands as sentinel to your secrets. A door guards and watches, allowing you to rest assured. A door keeps your snotty little brother out of your New Kids On The Block collector items. Without a door, what would life be like?
The symbolism extends, though: a closed door is a visible sign of unwelcome. A door locked and barricaded is the mark of isolation and seclusion. A door is meant to be closed … but it is also intended to be opened.
Think of all the embraced freshness of life - its random joy and its spontaneity. Imagine the embrace of what was lost. Picture the warmth of renewal. An open door is a symbol of growth and acceptance.
I know a closed door gives comfort … but that comfort is misleading. It is immediate but soon dissipates. A closed door leaves the air stale and the inhabitants anxious. An open door, however, floods the room with sunlight and the occupants with energy. An open door is the only way for life to be welcomed in.
Barry (Adam Sandler) is backward -- he is uncomfortable in any and all situations. Work = uncomfortable. Family = uncomfortable. Dating = uncomfortable. As a novelty plunger manufacturer who has seven overbearing and obnoxious sisters, he has always found himself doubting, anxious, and awkward.
In a moment of vulnerability and loneliness, Barry dials a sex hotline. The call is labored and tongue-tied … but Barry just wants to talk to girls. That call begins a hostile attempt at extortion against Barry.
In a moment of genuine emotion, Barry begins a relationship with a beautiful and seemingly interested young lady (Emily Watson). The moments are labored and tongue-tied … but Barry is greeted with smiles and giggles! That one date begins a fruitful and life-giving connection that revives Barry from a sleepy nonexistence.
Barry's unfolding is a parable: you have to open the door or things can never get in. Barry has lived a life of closed doors. He shuts out the discomfort - he shuts out the vulnerable - he shuts out the potential for embarrassment and loss - he shuts out anything that may hurt or demean or cause harm. BUT, and this is a big but, a shut door keeps everything out … not just the bad.
Barry's fear has kept him from meaningful relationships, genuine experiences, and authentic growth/maturity. It may have spared him a bit, but it has hindered him greatly.
Luckily for Barry (and for you), a few simple steps begin an epic journey toward discovery and joy. When he buys a blue suit, life changes. It might only be a change in perception...but it changes. When he finds a small piano, he carries it into his office. Why? Who knows! But … that piano opens him up to wonderful things. It provides a calm and a beauty. When he finds a deal on pudding that will shower him with airline miles, he jumps to action … even though he doesn't like pudding … or flying. This leap of uncertain faith, this decision to act despite insecurity, is a giant investment in his future. It is opening a door toward a future of possibilities.
You may not know what will happen next - you may not understand the implications … but you must open the door for life to enter.
The more I view this movie, now celebrating its 20th anniversary, the more I am astounded by it! It has unbelievable heart, immense laughs, and enduring style. Director/writer Paul Thomas Anderson created a masterpiece in 2002.
Adam Sandler delivers the performance of his lifetime! His portrayal of Barry is intricate, impactful, and indisputable. His nervous energy, his bubbling animation, give the character enormous life. You will never see Sandler the same way again! Emily Watson is touching, breathing much empathy into the character of Lena. Philip Seymour Hoffman is brilliant as Dean Trumbell, the blackmailing businessman. The entire cast creates and maintains a unique atmosphere unlike any other film!
The music by Jon Brion is electric! He describes it as a musical … without the singing and dancing, and the effect is undeniable. You find yourself feeling frantic, feeling anxious, feeling joyous, feeling euphoric, and it is all aided by the music. It is an unspoken language so familiar to the character of Barry. The cinematography of Robert Elswit is astounding; it is soft-spoken yet clear, beautiful yet arresting.
As difficult as it is to nail down, I believe Punch-Drunk Love is a modern classic. It has such a delicate balance, such a careful composition, such a lovely aura, such a sharp sensibility, such a relentless pace … what other word could describe such a film? "Classic" is the only one that comes to mind.
REPORT CARD: Punch-Drunk Love
Grade: A+
Comment: Odd and quirky but amazingly authentic