NOT LISTENING, BUT TALKING

80%

The existential problems of White people are here shown to lead to functional neurosis; meaning being able to function politically, but never personally. This is especially emphasised here given that the only obviously-certifiable character (played by Michael SHANNON) is more sane in his understanding of the world than anyone else (albeit that his response to his own insights is decidedly anti-social).

White people’s problems-with-living are inevitably passed-on to their children as they also, in their turn, seek to achieve the meaning, the identity & the value largely absent from a culture superficially-addicted to materialism. But this central theme is not fully-explored, save for the lead (played indifferently by Leonardo DiCaprio) working in the advertising business - which he hates for its essential phoniness. But what in his family made him that way, we might well ask? And why is his response to it so weak?

Thus, no solution to the problems of the two central characters is ever presented, except the pointlessness of running away from one’s problem when they will never run away from you. The best that the wife (played by the always-superb Kate WINLSLET) can do is to procure an abortion so that no more suffering people are brought into the world.

That White people lack the courage to be themselves explains a lot regarding their higher rates of, for example, suicide, depression & loneliness. They are thus reduced to acting-out their lives (while never truly living them) according to stage-plays written by others, regardless of self-esteem or whether or not those others have their best interests at heart; ensuring that they never actually achieve any self-interest or self-esteem. (This is exacerbated by the fact that Caucasians are also taught to be morbidly fearful of other cultures even if they could learn something from those cultures to their advantage.)

This essential phoniness regarding one’s relationship with oneself and regarding that with other people can only lead to bitterness, frustration & resentment at the resultant fear of social ridicule, ostracism & censure. Being different to other White people and, thereby, running the risk of psychological suffering for not confirming with their limitations and fears - albeit, paradoxically, conformity with those with whom one can never be friends with anyway precisely because of the difference.

The insightful writing is good, but the 1950s suburban milieu is largely pointless since the issues discussed here would be true in any White ghetto at any time during the last 500 years. Still, the acting performances generally excellent - particularly Kathy BATES in a supporting role - but where are the true revolutionaries? Not here!