The story of an emotionally stunted young man who finds salvation in a saintly sex-doll-as-human with community support, has proven to be a difficult premise for many to accept. Why has this story gained so much more resistance than the false realities presented in so many other contemporary films?
The initial discomfort in Lars' delusion (other than the uncomfortable truth of the existence of Real Dolls), is partially the fault of the film's marketing department. The promotional material, namely the poster, styled not too dissimilar to Garden State, Napolean Dynamite and Juno, screams quirky indie comedy. The comedy however, is only a result of the drama; chuckles of relief from painful and ridiculous scenarios. Not surprising given the first-time screenwriter Nancy Oliver's history in the dark, but often quite comedic HBO series Six Feet Under (Remember when Ruth accidentally gets high on Ecstasy?!). What kind of audiences would a film with a sex doll as a main character attract? Quirky indie comedy is safer, closer to the truth, and it gets bums on seats.
By the time Lars orders his Real Doll, and his delusion has come to fruition, we have largely forgotten the premise of the film, and are now invested in a sweet yet intensely socially withdrawn character. So the arrival of his new girlfriend and his eagerness to share not only himself, but his new girlfriend with his family, comes as quite a shock. Her integration into his life is the make or break point in the film.
Thankfully, sex is ruled out before we can apply to him any creepy labels. His interpretation of her background is relieving (also hilarious and poignant). He wants only goodness. It's at this point that he is officially diagnosed as delusional. Not only a harmless condition in this case, but potentially very positive. It's his chance to allow himself to grow. Once the community gets on board, we're either with him or we're his brother. Accept Bianca or find the whole thing just too ridiculous.
The suspension of belief in films is an everyday occurrence. However we don't generally see it in this context, or in this formula. It's uncharted territory. Not easy to accept. But if we do let go, and side with Lars' plight, we may realise how not uncommon this is. As children, we project characters onto beloved dolls and bears. Many of us give our pets and inanimate objects personalities. We often even project our own qualities onto those around us in order to establish and maintain relationships, and we seek relationships with people that possess qualities that we aspire to. Perhaps it was a bit of that, as well the compassionate nature of the local community, that allowed them to so readily accept and play along with his delusion. If nothing else, it gave them an opportunity to interact with, and ultimately help get Lars where they wanted to be - with them.
Bianca's existence was not so simple as to simply fill Lars' girlfriend void. She was all the things he wanted to be, but couldn't. She was necessary for him to make such a dramatic transition. She paved the road from his broken and emotionally stunted past, into his desired future of shared familial and communal love and acceptance.
Being a separate entity from her creator, Bianca served inspiringly as the hero's projected metamorphoses. Emotional growth and communal healing, made possible only by the compassion, love, and kindness of those around him. Which is all any of us ever really want. How we achieve that is never simple, and can often appear somewhat ridiculous.
The events of the film may not realistically reflect life as it is, but it does show us how it can be.
Reviews & Interviews:
Roger Ebert review
Wall Street Journal review
At The Movies: review or director interview
Director's interview on Ain't It Cool News
Scribe's interview in the New York Times
More reviews
Official trailer via Apple.com
A psychological list of defenses including projection
Delusion - Wikipedia
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