![]() It feels that the characters of Amy, Brigitte, and Raffi are only conjured to imbue the lives of the real characters with meaning. Therefore, she engages with Raffi/Time.įinally, Simon, who is dying from multiple myeloma, confides in Brigitte/Death. Claire, who has devoted her entire life to her work, longs for a child, but her youth is fleeting. Whit suffers from a lack of love, and therefore he pursues Amy/Love. Whit loves his daughter for the world, but his daughter does not reciprocate his love since she has learned from his mother about her father’s casual relationships with other women. This modern-day morality play maintains a rigid structure, following the theatrical form. Not only do these abstractions preoccupy Howard’s mind but they also say something about the voids in the lives of Howard’s friends. Brigitte is old, wise, and certain, and therefore, she is Death. Raffi is rash and impatient and, therefore, he is Time. ![]() It seems that the presence of Amy, Brigitte, and Raffi is purely allegorical.Īmy is emotional and empathetic, and therefore, she is Love. The protagonist would revisit his memories, guided by supporting characters who would be personifications of abstractions. In medieval times, there used to be these plays called morality plays – little interludes which would revolve around a central protagonist who would represent the larger humanity. The actors are neither wholly real nor are they illusions of Howard. Collateral Beauty Ending: Are The Actors Real or Are They Howard’s Illusion? Guided by the abstractions, Howard’s friends find their respective closures, while the actors disappear into thin air, having expended their energy in the creation of the fantasy. In the finality of events, Howard returns to the moment of trauma, and it heals him. It is revealed that not only Howard but his friends too have blank spaces in their lives. In the meantime, Howard comes out of his exile and hesitantly attends a grief support group hosted by Madeline ( Naomie Harris). They convincingly play their parts to make Howard believe that only he is seeing them. In the meta-theatre, the emotional Amy becomes Love, a vital Brigitte takes the form of Death, while an impatient Raffi becomes Time. Followed by Whit’s ingenious idea - Claire’s skepticism notwithstanding - Howard’s friends go to propose that the theatre actors act as the three abstractions. He meets Amy’s co-actors Raffi (Jacob Latimore) and Brigitte ( Helen Mirren). When they find out that Howard is writing angry letters to the three abstractions, they decide to manifest these three abstractions before Howard’s eyes.ĭuring an audition, Whit runs into Amy ( Keira Knightley) and follows her to a theatre. His three caring colleagues, Claire ( Kate Winslet), Whit, and Simon (Michael Pena), put a tail on Howard in an attempt to save the company. Life is lost in his eyes, and he mostly keeps to himself in a darkened room and roams around the city at night on his cycle. As he puts it: “We long for love, we wish we had more time, and we fear death.” Three years later, Howard is completely changed after the death of his daughter. As his friend Whit ( Edward Norton) states, the charismatic and driven Howard is the “rebel command of brand.” Howard speaks of three abstractions – love, death, and time. The story begins with the introduction of Howard ( Will Smith), an executive at the advertising firm Yardsham Inlet. If you have found it difficult to decode the narrative of the film, let us assist you in your journey of apprehension. ![]() The ending shatters the illusions as it gives meaning to the story. An indictment of the pervasive depression in modern existence and a homage to cinema and its evocative powers, the film rightly features a star-studded cast to isolate the viewers from the screen. The story revolves around a bereaved father and his misfit motley of friends who try to help him cope with his loss, but their attempts do not prove to be enough to break his shell. Although this onion somewhat lacks in heat, it gives you enough material to chew on and digest.
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