Community life and interpersonal communication

Juana 2021-11-26 08:01:45

After watching this film, many people will see the changes before and after Lars, while ignoring the changes in the people around Lars. Of course, Lars's changes are obvious and spontaneous, while the latter's changes are relatively hidden and passive, and even more non-essential.


Lars lives in a community where most people know each other, and they can see each other in churches or parties. This is a situation shown to the audience in the movie. But the movie also hides (it should be said that it is contextualized) a "society" higher than the community. The existence of "modern society" makes life difficult even for people like Lars. He wakes up, can order takeaway for three meals, and only needs a computer for work, everything is in order. It is hard to imagine how Lars lived in the Middle Ages. The "modern society" has taken most of the functions that originally belonged to the scope of interpersonal communication into the "society." Human abilities are increasing, but the space for human activities is shrinking, and the huge and orderly "society" is weighed on small individuals. Allows individuals to live without thinking. As individuals who originally did Brownian movements were standardized into mechanical movements, the real public space was constantly shrinking.


Habermas, this is the first reaction after watching this film. Not only does the picture depicted in the film illustrate the modern social situation described by Habermas, but more importantly, the director also holds the same optimistic spirit as Habermas. The loss of personal communication formed by the instrumental rationality of modern society, or the communicative rationality is higher than the instrumental rationality, which is more reasonable, this is the first question they face. The director seems to have answered this question ideally, but his views are in line with the natural "chat essence" of human beings, so even though this is difficult to achieve, he still thinks this is a warm and sincere work.


Community and language are Habermas and the two weapons used by the director to deal with the regulated "society". The community provides a fixed group of people and a place to interact, and the living language rather than the written language is a refuge from society temporarily. Community and language, that is, chat and chat object, are the two keys to recreating human vitality and public space. But the screenwriter has to make the story twists and turns-this is an increasingly "socialized" community, and Lars has a language barrier to communication.


The situation seems to be dead. The public life of the community is increasingly compressed-only Sunday churches are left, and people are relatively speechless. Lars seems to be the biggest beneficiary of this orderly but stagnant society—and the victim. Some people will also try to talk-his sister-in-law enthusiastically invited him to breakfast, but the overall situation has been determined, and the stagnant water is slightly turbulent.


But the idealistic mood of the screenwriter has overcome reality. This kind of idealism is what I praised. He imagined that people like Lars not only have, but also have more impulse to associate than others-this impulse includes chatting, high-five celebration, occasional skin-to-hand blind date between hands, Make eye contact and hear laughter from friends. Lars' impulse finally turned into the appearance of an inflatable doll-a virtual communication object. The idealism of the screenwriter has reached its peak at this time. He disregarded the shackles of reality and forcibly created such a bizarre story to realize his belief about mankind-mankind should not be such an indifferent ethnic group now. Mankind was and is now It should be someone who loves communication, loves sharing, and loves the same kind.


The emergence of inflatable dolls eventually changed Lars, and as I said at the beginning of the article, it changed other people. Although in the last paragraph, regarding the changes of other people in the community and the director’s handling of the plot, he still fell into a cliché about change, unable to realize the inner reality of the whole movie, but he can compare such an easy to sensationalism with The bizarre story is told into a warm and realistic sketch, and at the same time, he consistently implements his own thoughts. It is worth considering that it is nominated for the best original screenplay for this year's Oscar.


From another point of view, the communication between the same kind and even the final linking of the same air is achieved through an inflatable doll. Is it a kind of irony to the ideas conveyed in this film?

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View more about Lars and the Real Girl reviews

Extended Reading
  • Jermaine 2022-04-24 07:01:05

    The memories we once had are still good

  • Jacklyn 2022-03-27 09:01:05

    I have to admit that every time I see the expressionless Bianca, I want to laugh, and then I want to laugh even more when I see everyone's behavior towards Bianca and everyone's helpless expressions! ——Think about it, when we were young, we often treated toys (things) as people (life), but we couldn’t reach the realm of Hanlas. ——Although this movie shows life, it is like a fairy tale. It is not realistic enough, but it is beautiful and warm enough.

Lars and the Real Girl quotes

  • Lars Lindstrom: [to Bianca, after she is given flowers] Those are nice, huh? And they're not real, so they'll last forever.

  • Gus: Pretend that she's real? I'm just not gonna do it.

    Dagmar: She is real.

    Gus: Well...

    Dagmar: She's right out there.

    Gus: Right, right, I get that, but I'm just not gonna, you know...

    Dagmar: You won't be able to change his mind, anyway. Bianca's in town for a reason.

    Gus: But - but...

    Dagmar: It's not really a choice.

    Karin: Okay. Okay, all right, we'll do it, whatever it takes.

    Gus: Oh, yeah, yeah, yeah. And everyone's gonna laugh at him.

    Dagmar: And you.