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It surprised no one when Lars and the Real Girl was at one time voted as the most popular narrative among the many movies on show at the Dublin's festival, when it came in third, slightly after two documentaries. Nancy Oliver, the author, had deservedly been nominated in a category that featured the best original screenplay. Nancy makes a cinema debut auspiciously with an original screenplay that proves to be sought of strange and seductive in some way.
The film is set in a small Midwest town in the United States during the winter season. The movie features a talented actor from Canada, Ryan Gosling who plays as Lars Lindstrom. He is a twenty-seven-year-old painfully introverted man who resides next door to his brother Gus and Karin, Gus's pregnant wife in a converted garage. Lars, who does not appreciate the social contact, actively resists any romantic gestures from Margo, a colleague. He also turns down any invitations to eat evening meals at Karin's kitchen.
Lars overhears a fellow employee discussing a gadget sold by an online sex toy shop, he orders one life-size doll promptly and infers it as a live human being (Dwyer). Karin and Gus are surprised when Lars says that he had eventually found a girlfriend. He calls her Bianca and describes her as half Danish and half Brazilian who is in a wheelchair. It finally transpires that Bianca in an anatomically correct life-size silicone doll that he had ordered. Even with the doll's open mouth that signals sexual use, Lars does not hesitate to ask Karin and Gus to accommodate her in their house.
Just as expected, after Lars brings her to church, Bianca quickly becomes the talk of the town. Patricia Clarkson, the family doctor, gets into the guy's delusions and later realizes that the doll there is a reason why the doll is present in his life. She even hopes that the doll might be the thing that unlocks them. Patricia comes up with a practical approach towards Bianca and Lars; the plan involves integrating incorporating Bianca among the people of the town. She also ensures that Bianca gets a job at a nearby shop as a mannequin at a store.
The director of the film, Craig Gillespie exhibits a skillful orchestration of a progression of hilarious scenes that had anyone watching quaking with laughter. On the other hand, the movie also takes on a somewhat serious tone and becomes genuinely affectionate. The movie risks on several occasions especially in its treatment of mental illness and loneliness, putting them in a humorous context. The contexts include the shifts in moods while seeking a solution that is sentimental or overplayed the other is the unfashionably optimistic and benign view of community and humanity in the contemporary society. Despite the risks, the film still succeeds in creating and maintaining suspension of skepticism in the viewer's mind in the most efficient way like in the fictitious people that it depicts.
The film Lars and the Real Girl is in so many ways attributable to it mixture of creative talents, from Nancy's compassionate, imaginative screenplay to how the cast and director respond (Collins). The product of the correctly selected cast and director is a plasticized, detached film that enunciates redemption, romance, and recovery.
Collins, Garry. "Lars and the Real Girl." NORIPCORD (2009).
Dwyer, Michael. "Lars and the Real Girl." THE IRISH TIMES (2008).
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