Good Will Hunting
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Good Will Hunting (Gus Van Sant, 1997) is a film about interpersonal relations and human goals, and the style of the film reflects this as the director places the camera in the action as up-close observer. The low-key style is evident in the opening scene as Chuckie picks up Will, and the two meet on the porch and walk to the car without speaking, performing actions they obviously do every day. The director takes great care throughout in the placement and movement of the camera to keep the actions real, to avoid undercutting the interpersonal connections made between characters, and to suggest thematic interests and concerns in ways that convey what is meant to the viewer through subtle cues that are part of the language of the film. One particular series of scenes early in the film shapes what follows, expresses the theme directly, and foreshadows what is to come. A short but important scene in the early portion of the film occurs when Will and his friends get out of their car to beat up on some young toughs who are acting rudely in their neighborhood. This scene suggests the pent-up anger in Will, anger which has been hinted at before but which now emerges full-blown. It was suggested earlier in the bar scene when the Michael Bolton lookalike interfered when Will was talking to Skylar, but then he seemed to have some justification. There was also a social class element in the confrontation, with the working-class kid facing off with the rich student and besting him
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f he so wishes, and third that most therapists either cannot see through what Will is doing or care so little that they would rather have an easier job to do than solve the problems of a really mixed-up young man. The fact that Sean agrees to take on a job so many others have abandoned says much about him and his sense of what is important, and this also follows from these several scenes of failed therapy.
In the first, Will meets with a psychologist played by George Plympton, looking especially upper-class and flustered as he is presented with the working-class tough in Lambeau's office. The lighting here is naturalistic, with the bright sun streaming through the windows from one side, while the other side is in shadow. The setting itself is upper class compared to what Will is accustomed to, and therefore Will stands out from the first as a jarring note. He contrasts sharply with the Psychologist, a much older man with white, unkempt hair and a somewhat befuddled yet supercilious attitude. Will, as always in such situations, is fully in control, and the viewer knows immediately that no therapy will take place until Will is no longer in complete control. Will leans back comfortably while the Psychologist sits somewhat stif
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Some common words found in the essay are:
Van Sant, George Plympton, Michael Bolton, van sant, fight scene, Hunting Miramax, lambeau assistant sean, follow will's, fight playground, psychologist sits, lambeau assistant, assistant sean, slow motion, meeting sean, style film,
Approximate Word count = 1729
Approximate Pages = 7 (250 words per page)
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