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1. Общая информация

Requiem for a Dream is a 2000 film adaptation of the 1978 novel of the same name. The novel was written by Hubert Selby, Jr.; the film adaptation was directed by Darren Aronofsky, and starred Ellen Burstyn, Jared Leto, Jennifer Connelly, and Marlon Wayans. Burstyn was nominated for an Academy Award for Best Actress for her performance.

The film depicts different forms of addiction, leading to the characters’ imprisonment in a dream world of delusion and reckless desperation that is subsequently overtaken and devastated by reality.

2. Съемки

The film rights to Hubert Selby, Jr.’s book Requiem for a Dream were optioned by Scott Vogel for Truth and Soul Pictures in 1997 prior to the release of ?.

3. Рейтинг

In the United States, the film was originally tagged with an NC-17 rating by the MPAA due to a sex scene. Aronofsky appealed the rating, claiming that cutting any portion of the film would dilute (if not outright destroy) its message. The appeal was denied, so Artisan decided to release the film unrated. An edited version of the film was released on video, rated R. This version had the sex scene shortened, but kept the rest of the movie identical to the unrated version. This R-rated version was only distributed in video store chains such as Blockbuster as well as some family-oriented department stores such as Target. The edited version contains an alternate title card, featuring the words "Requiem for a Dream Edited Version," ensuring that the viewer is aware that the version they are watching is not the original.

In the United Kingdom, the film has been given an 18 certificate by the BBFC.

In the DVD commentary, Aronofsky implies the "ass-to-ass" scene was based on something he actually witnessed; in the book, the particulars of Marion's prostitution are not described.

4. Основная мысль

The majority of reviewers characterized Requiem for a Dream in the genre of "drug movies," along with films like Trainspotting, Spun, and Fear and Loathing in Las Vegas. However, Aronofsky has said:

Requiem for a Dream is not about heroin or about drugs… The Harry-Tyrone-Marion story is a very traditional heroin story. But putting it side by side with the Sara story, we suddenly say, 'Oh, my God, what is a drug?' The idea that the same inner monologue goes through a person's head when they're trying to quit drugs, as with cigarettes, as when they're trying to not eat food so they can lose 20 pounds, was really fascinating to me. I thought it was an idea that we hadn't seen on film and I wanted to bring it up on the screen.

In the book, Selby refers to the "American Dream" as amorphous and unattainable, a compilation of the various desires of the story's characters. All the characters use some form of addiction as a substitute for the actual fulfillment of a dream, choosing immediate sensory placation over a struggle for some higher good. Selby explains the title of his book in this context—as a requiem for some specific dream (a dream) as opposed to the larger, overarching "American Dream" (the dream). While an individual dream can wither and die, the American Dream is persistent and cannot be easily overcome, certainly not by those who are so entangled in it that they cannot see it.

5. Стиль

As in his previous film, ?, Aronofsky uses montages of extremely short shots throughout the film (sometimes termed a hip hop montage). While an average 100-minute film has 600 to 700 cuts, Requiem features more than 2,000. Split-screen is used extensively, along with extremely tight closeups. Long tracking shots (including those shot with an apparatus strapping a camera to an actor, called the Snorricam) and time-lapse photography are also prominent stylistic devices.

In order to portray the shift from the objective, community-based narrative to the subjective, isolated state of the characters' perspectives, Aronofsky alternates between extreme closeups and extreme distance from the action and intercuts reality with a character's fantasy. Aronofsky aims to subjectivise emotion, and the effect of his stylistic choices is personalisation rather than alienation.

The film's distancing itself from empathy is furthered structurally by the use of intertitles (Summer, Fall, Winter), marking the temporal progress of addiction. The average scene length shortens as the movie progresses (beginning around 90 seconds to 2 minutes) until the movie's climactic scenes, which are cut together very rapidly (many changes per second) and are accompanied by a score which increases in intensity accordingly. After the climax, there is a short period of serenity, during which idyllic dreams of what may have been are juxtaposed with portraits of the four shattered lives. Many magazine film critics consider Requiem for a Dream the director's masterpiece.

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