← Back to Reviews
in
#228 - The Truman Show
Peter Weir, 1998
A man living in an idyllic small town gradually to discover the truth behind his perfect life - that he is actually the unwitting star of a world-famous TV series.
I'm highlighting this film in red even though I don't quite feel like I've seen the whole thing all the way through, even though I already ticked it off in the MoFo Lists. In any case, I've definitely seen it 100% start to finish now. Anyway, The Truman Show is a generally great film that still holds up even now. I do wonder how the film might have played out if it had hidden its twist better rather than make it the main selling point, though it'd still be pretty easy to figure out what was going on anyway. In any case, the film does a great job of building off its proto-reality premise through some elaborate world-building, hidden-camera cinematography and use of flashbacks. Of course, it all falls apart quite a bit once you start asking the right questions about the sheer implausibility of its premise - and asking questions about how the titular show could even exist, let alone last for decades, eventually becomes a big part of the fun - but the film is well-made enough that you're able to let things slide for the sake of the narrative.
As the titular character, Jim Carrey's first stab at a serious role still depends on him being a gormless goofball, but here it's put to good use as his outward cheerfulness hides a weary hopefulness over trying to find a mystery woman (Natascha McElhone) and his emotions take a beating as he is constantly frustrated by his search for both this woman and, by extension, the truth. The bulk of the cast that surrounds Truman are supposed to be shallow one-note characters, though that doesn't preclude them from solid performances (especially Noah Emmerich as Truman's best friend, who does have moments that imply a greater depth that the film really explores). It is only after the film's halfway point that any serious exposition is given to the show's creation, though having the always dependable Ed Harris as the show's creator and director was an inspired choice. A character that could have easily been a boring megalomaniac instead gets a considerable amount of depth both thanks to the script and thanks to Harris's performance, which has the sort of intensity common to his best roles but is also underscored by a surprising level of sensitivity and understandable (if not justifiable) motivations.
The Truman Show doesn't quite have the level of depth to it that would guarantee a higher rating, but as it stands it's still a well-made take on an interesting high concept that still holds up almost twenty years later. Carrey delivers some of his best work as a cheery yet heartbroken protagonist whose journey is a compelling one no matter how many obstacles are thrown in his path (often quite literally). Having great behind-the-scenes talent providing distinctive cinematography, an appropriate soundtrack, a finale that involves lots of special effects but doesn't feel out of place against the heightened reality of the rest of the film, and another striking performance from Harris are certainly high points that flesh out the film nicely.
Peter Weir, 1998
A man living in an idyllic small town gradually to discover the truth behind his perfect life - that he is actually the unwitting star of a world-famous TV series.
I'm highlighting this film in red even though I don't quite feel like I've seen the whole thing all the way through, even though I already ticked it off in the MoFo Lists. In any case, I've definitely seen it 100% start to finish now. Anyway, The Truman Show is a generally great film that still holds up even now. I do wonder how the film might have played out if it had hidden its twist better rather than make it the main selling point, though it'd still be pretty easy to figure out what was going on anyway. In any case, the film does a great job of building off its proto-reality premise through some elaborate world-building, hidden-camera cinematography and use of flashbacks. Of course, it all falls apart quite a bit once you start asking the right questions about the sheer implausibility of its premise - and asking questions about how the titular show could even exist, let alone last for decades, eventually becomes a big part of the fun - but the film is well-made enough that you're able to let things slide for the sake of the narrative.
As the titular character, Jim Carrey's first stab at a serious role still depends on him being a gormless goofball, but here it's put to good use as his outward cheerfulness hides a weary hopefulness over trying to find a mystery woman (Natascha McElhone) and his emotions take a beating as he is constantly frustrated by his search for both this woman and, by extension, the truth. The bulk of the cast that surrounds Truman are supposed to be shallow one-note characters, though that doesn't preclude them from solid performances (especially Noah Emmerich as Truman's best friend, who does have moments that imply a greater depth that the film really explores). It is only after the film's halfway point that any serious exposition is given to the show's creation, though having the always dependable Ed Harris as the show's creator and director was an inspired choice. A character that could have easily been a boring megalomaniac instead gets a considerable amount of depth both thanks to the script and thanks to Harris's performance, which has the sort of intensity common to his best roles but is also underscored by a surprising level of sensitivity and understandable (if not justifiable) motivations.
The Truman Show doesn't quite have the level of depth to it that would guarantee a higher rating, but as it stands it's still a well-made take on an interesting high concept that still holds up almost twenty years later. Carrey delivers some of his best work as a cheery yet heartbroken protagonist whose journey is a compelling one no matter how many obstacles are thrown in his path (often quite literally). Having great behind-the-scenes talent providing distinctive cinematography, an appropriate soundtrack, a finale that involves lots of special effects but doesn't feel out of place against the heightened reality of the rest of the film, and another striking performance from Harris are certainly high points that flesh out the film nicely.