Requiem for a Dream (2000)

Director:

Darren Aronofsky

Writers:

Hubert Selby Jr. (based on the book by)
Hubert Selby Jr. (screenplay) ...

Release Date:

27 October 2000 (USA)

Genre:

Drama

Tagline:

From the director of [Pi]

Plot:

The hopes and dreams of four ambitious people are shattered when their drug addictions begin spiraling out of control.

Plot Keywords:

Drug | Dream | Heroin | Friend | Addiction

Awards:

Nominated for Oscar. Another 20 wins & 34 nominations

Cast

Ellen Burstyn	...	Sara Goldfarb
Jared Leto	...	Harry Goldfarb
Jennifer Connelly	...	Marion Silver
Marlon Wayans	...	Tyrone C. Love
Christopher McDonald	...	Tappy Tibbons
Louise Lasser	...	Ada
Marcia Jean Kurtz	...	Rae
Janet Sarno	...	Mrs. Pearlman
Suzanne Shepherd	...	Mrs. Scarlini
Joanne Gordon	...	Mrs. Ovadia
Charlotte Aronofsky	...	Mrs. Miles
Mark Margolis	...	Mr. Rabinowitz
Michael Kaycheck	...	Donut Cop (as Mike Kaycheck)
Jack O'Connell	...	Corn Dog Stand Boss
Chas Mastin	...	Lyle Russel

MPAA:

Rated R for intense depiction of drug addiction, graphic sexuality, strong language and some violence. (edited version)

Runtime:

102 min | South Korea:100 min

Country:

USA

Language:

English

Color:

Color

Aspect Ratio:

1.37 : 1

Sound Mix:

Dolby Digital

Certification:

USA:NC-17 (original rating) (certificate #37726) | Iceland:16 | South Korea:18 | Brazil:18 | Denmark:15 | South Africa:18 | South Africa:16 (theatrical rating) | Czech Republic:15 | USA:Unrated (director's cut) | Japan:R-18 (original rating) | Argentina:16 | Australia:R | Canada:16+ (Quebec) | Canada:18A (edited version) | Canada:R (director's cut) (Canadian Home Video rating) | Chile:14 (re-rated) | Finland:K-15 | France:-12 | Germany:16 | Hong Kong:III | Ireland:18 | Japan:R-15 (re-rating on appeal) | Mexico:C | Netherlands:16 | New Zealand:R18 | Norway:15 | Peru:14 | Portugal:M/16 | Singapore:R(A) | Spain:18 | Sweden:15 | UK:18 | USA:Open (rating surrendered: 2000) | USA:R (censored video version)

Filming Locations:

Brooklyn, New York City, New York, USA

Company:

Artisan Entertainment

Trivia:

In each character's last scene they turn onto their right side and pull their knees up to their stomach, assuming the fetal position.

Goofs:

Revealing mistakes: After having sex with Marion, while she is still in the bathroom, Big Tim appears on scene supposedly naked, but you can see the piece of fabric the production used to cover his pubis.

Quotes:

Tyrone C. Love: DY-NO-MITE!

Movie Connections:

Featured in Man on Fire (2004)

Soundtrack:

Bialy & Lox Conga

Punishing and Unforgettable

I respect and admire this movie, even though (and perhaps because) it is complex, occasionally irritating and often very hard to take. Frankly, I avoided seeing it for a long time, but now am glad I did. To complain that the film fails as a realistic portrayal of addiction is, I think, to miss the point. Far from being the mere depiction of a collective downward spiral fueled by drugs, the movie is in fact a meditation on loneliness, greed, corruption, desperation, and the pervasiveness/banality of media, among many other things.

The subtleties of the text are communicated, first and foremost, by superb acting. The performances of Ellen Burstyn, Jared Leto, Jennifer Connelly, and Marlon Wayans are all revelatory. In particular, I was knocked out by Burstyn, who is almost comically pathetic in the beginning, but who manages by the end to convey her character's utter devastation in the truest, most heartbreaking manner imaginable. The others are absolutely perfect as well; I was simply astonished by Leto and especially Wayans (may he eschew "scary movies" forevermore). Connelly has perhaps the most difficult role in the film, with opportunity and motivation galore to go over the top, and she delivers not a single false note throughout.

My only real quibbles with the movie have to do with certain instances of the split-screen and jump-cut techniques, which struck me as somewhat gimmicky and repetitious, respectively. That being said, overall the style of the film is impressive and appropriate. The cinematography is beautifully conceived and executed, and the score is every bit as haunting as the performances (thanks largely to the work of the Kronos Quartet).

In sum, regardless of whether or not the subject matter itself shocks you, this movie will put the viewer through the proverbial wringer. Give it a chance, and you will connect with the characters and then witness their destruction (spiritual and otherwise). It is a punishing but unforgettable experience. I'm not sure whether I'd necessarily recommend it or not; it all depends on your personal tolerance level with regard to an unflinching portrayal of human nature and behavior at their most extreme and, ultimately, tragic. For my part, while I don't expect to watch this film very often in the future, I'm sure glad it'll be on the shelf.