Eternal Sunshine of the Spotless Mind (2004)

Eternal Sunshine of the Spotless Mind (2004)

          Within the film, Eternal Sunshine of the Spotless Mind, there is a fine use of warm and cool colors which help propel this film into the formalist category. A formalist film is one that cares more about form rather than content, but to a reasonable degree – of course. This movie has a secret story embedded within it by its incredible display of imagery which helps to keep it concealed. The two main characters, Joel and Clementine, are characterized by the two different sets of colors: cold and warm. Joel’s personality and life are representative of the dull, grays and blacks. These colors help the audience feel as though Joel is dull, boring, and reclusive. 

          Everything about Clementine, on the other hand, is vibrant. Her name, her orange sweater, her changing hair color, her homemade hand warmers are all things which help show the audience that Clementine is a colorful and creative person. Her personality is one of cheery, impulsive, and funny. She is always laughing when Joel is trying to be serious, and this describes the relationship between the two.

          The picture on the very top of the post shows both Joel and Clementine in a train. This is the first time where they talk to one another after seeing each other on the beach, a coffee shop, and waiting for the train. The picture above is a a medium shot featuring two people, this a medium two-shot. The colors of both character’s clothing help juxtapose them against one another. Clementine is sitting backwards on the seat, excitedly engaging with Joel while it appears he makes a very minimal effort to contribute to the conversation at all. 

          During Joel’s series of dreams, there is a noticeable perspective difference taking place which helps add to the formalist theme of the film. In the picture above, Joel is in a memory he had as a kid, and is shown acting like the kid using his complete adult body. This is a great use of perspective since Joel’s body did not literally shrink. Clementine is acting as the babysitter taking care of Joel while he is still trying to save one of his last memories of her. Within these clips that show Joel’s journey and willingness to save his memory of Clementine, a hint of love rises occasionally overall giving hope to the audience. 

          Lastly, the juxtaposition that takes place during Joel's adventurous dream is one which helps represent the formalist film type. In this scene above, Joel and Clementine are seen lying on a frozen over lake, when all of the sudden, Clementine gets pulled away from him into the darkness. This is a metaphor which foreshadows the erasing of Clementine from Joel's memory. He is running out of time and things are getting hectic. He doesn't want to lose Clementine but realizes it's a possibility that he must fight against.