Innocence in film

(River Phoenix in his pre-Viper Room days...Stand by Me 1986)

Innocence in film

As we live out our hectic lives it is all too easy to forget that we are changing, picking up traits and moulding ourselves into completely different people. Indeed, it can be argued that at every different stage of our lives we succumb to a new era where we step out of a past shell due to the experiences we have gained. No-one depicts this transition and human evolution in a more aesthetically pleasing manner than film-makers who are seemingly transfixed by the notion of innocence and the transient nature of childhood. A sense of nostalgia is often incorporated into the films of such directors as Sofia Coppola, Rob Reiner and Bernardo Bertolucci.

Some elements of Jordan Scott's 2009 film "Cracks" and Rob Reiner's coming of age saga "Stand by Me" adhere to the idea of an idealised childhood. The rose-tinted settings, romantic delusions and the sense of companionship is often overbearing, arguably, even saccharine. Take for instance the four boy's unwavering devotion to each other in "Stand by Me" which seems unrealistic considering the often fickle nature of children. Furthermore, the midnight feasts, floaty dresses and a penchant for ribbons almost seems like a cliched and distorted vision of childhood in "Cracks". However, it soon becomes obvious that things are not quite what they seem due to an undercurrent of gloom which is prevalent in both films. Indeed, both Jordan Scott and Rob Reiner encourage a facade of innocence which is constructed solely to be destroyed as the film progresses. While jealously twists the girls into grotesque caricatures of themselves in "Cracks", curiosity and the perils it brings leads to stark realisation for the boys in "Stand by Me".

A film which differs greatly from the aforementioned but still manages to convey similar messages of progression through childhood is Lucile Hadzihalilovic's 2004 film "Innocence". Instead of relying solely on dialogue or a rich plot the entire film can be perceived as an allegory for childhood. A plethora of metaphors are used to convey lost innocence and purity; references to water are rife throughout while a train journey the protagonists undertake may have been used to symbolise their transition from pre-teen nymphs to adolescents. The plot focuses on six year old Iris's metamorphosis while at an isolated and regimental boarding school and the quandaries she faces while she comes to understand her surroundings. Set in ethereal woodland, a sense of claustrophobia, magical realism and melancholia is maintained throughout the film channeling the audience's own feelings of confusion.

What these directors have in common is the auspicious endings to their films. Di played by Juno Temple in "Cracks" is finally able to push aside desire and rule with her head. Similarly, Gordie in "Stand by Me" gains the courage to pursue his own dreams instead of following in his dead brother's footsteps. Thus, it can be argued that some film makers ultimately try to convey the positive message that as we reach a new era in our lives we become stronger and emotionally resilient.

[This is a piece I did for my friend's brandspankinglynewbiannualonlinemagazineRibbed launching on the 30th January. The theme is 'a new era'. I wrote the first paragraph, forgot about it and rush wrote it at 3am so it's pretty bad (tsk tsk, excuses excuses). I'm not sure if it's going to be included as I submitted it to her today so I thought i'd share it here.]