Review: Requiem for a Dream

“Requiem for a Dream” Directed by Darren Aronofsky and based on a novel by Hubert Selby Jr., is a real jaw-clenching experience of drug-abuse. Jared Leto stars as Harry Goldfarb, a paper-white needle-pushing hound, alongside his equally placid girlfriend, Marion, played by Jennifer Connelly. The two are the Bonnie and Clyde of druggies, always self-assuring each other and hoisting up their constantly moody spirits; the feelings of doom that can quite literally be calculated by how many hours it’s been since they’ve last used.

Alongside Harry Goldfarb is his fast-talking pal Tyrone Love, played by Marlon Wayans. As partners, they collaborate on the streets, sniffing out deals and outrunning collectors. We are also shown a side-story of Harry’s seemingly old mother, who dries up all day in a hot and uncomfortable apartment. She watches a game-show on television, which is advertising for participants to come on the show. She sees the glamorous excitement in the eyes of the contestants, and in response begins to grow a strong desire to become beautiful and get on the, which she attempts to do by taking various diet pills. The outcome of all this dreary depiction of broken lives, the Director Aronofsky hopes, is for the viewers to be able to predict the ending, if you already cannot; this is a movie where it’s right to know the outcome, as most people realize that prostitution for drugs and repetitive needle use does not lead to long kisses on the beach. And this one, I can assuredly say, does not end on the beach.

The path to destruction is the main depiction being shown on screen; along the way, we see the self-induced slums, the idiosyncratic sensibilities and attitudes, similar to Danny Boyle’s film ‘Trainspotting’ about British heroin addicts. Behind its own righteousness, the film has an ulterior way of trying to seem hip and spontaneous with swift jump-cuts and hot getaways; however, the film wouldn’t have much of an impact if the characters were arrested early on; the most frightening thing about the whole film is the final, hectic third act, where not only does the emotional turmoil begin boiling to the surface, but also the physical-wreckage of Mrs. Goldfarb and her son Harry Goldfarb’s bodies. Despite a keen sense of blunt righteousness, “Requiem for a Dream” is an eye-opening and important American film.

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