ETERNAL SUNSHINE OF THE SPOTLESS MIND

6?/10

USA 2004 : Michel GONDRY : 108 mins

Joel (Jim Carrey) is depressed. Not only has he just broken up with Clementine (Kate Winslet), but now he discovers that the woman he still loves has undergone the 'Lacuna' process to wipe away all memories of their relationship. Joel impulsively decides to follow suit - but as he 'experiences' the traces of Clementine being erased from his brain, he realises he's making a terrible mistake...

Eternal Sunshine* is the fifth movie to be made based on a script by Charlie Kaufman, who earned Oscar nominations for the brilliant Being John Malkovich (1999) and the only slightly less remarkable Adaptation. (2002), both directed by Spike Jonze. Kaufman's collaborations with other directors have, however, proved much less fruitful: Human Nature (Michel Gondry, 2002) and Confessions of a Dangerous Mind (George Clooney, 2003) were disappointingly so-so affairs that felt like overstylised, overextended sketches straining too hard towards cult status

Human Nature went straight to video over here, but Gondry's follow-up Eternal Sunshine of the Spotless Mind is being given a major push with a terrific trailer (cut to ELO's 'Mr Blue Sky') and ubiquitous billboards featuring some of ecstatic Stateside reviews. And whereas Human Nature unwisely gave copious screen-time to the tiresome Rhys Ifans, Eternal Sunshine can boast a never-better Carrey backed up by the dependable likes of Kirsten Dunst, Tom Wilkinson and Mark Ruffalo.

So it's a real let-down that this Gondry-Kaufman collaboration is - once again - a so-so affair which feels like overstylised, overextended sketch straining too hard towards cult status. Gondry's direction is nimble and imaginative, with sterling contributions from editor Valdis Oskarsdottir and cinematographer Ellen Kuras - the surreal excursions into Joel's subconscious are all the more effective for their use of daringly lo-fi lighting effects. And,Winslet's grating kooky-krazy routine apart, the cast do their best to keep things on the boil.

Strangely enough, it's in the screenplay department where Eternal Sunshine really falls down. Leaving aside the technical aspects of the Lacuna process (which are infinitely more plausible than Malkovich's unexplained 'portal'), it's scarcely believable that the love-struck Joel would elect to have Clementine removed from his memories. And once we're inside his head, the film becomes one long hermetic dream-sequence in which anything goes, and nothing really matters.

The script degenerates into a cobbled-together, hit-and-miss affair, groping for profundity as it lumbers towards a woefully predictable conclusion - all of which perhaps explains why this supposed comedy has such an off-puttingly chilly feel. It all goes to show that, regardless of what else you do right, if the script isn't up to scratch - well, forget it.

12th April, 2004
(seen 7th April : Odeon, Gate, Newcastle-upon-Tyne)

by Neil Young

* 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 [from] Eloisa to Abelard (1717)

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