Representations of Mental Illness Over Time
Our group decided to make the protagonist of our opening scene someone who suffers with mental illness. In order to make sure that we make our representation of mental illness as realistic and fair as possible we decided to research how mental illness has been represented in film in the past. I have researched four films; 'A Streetcar Named Desire', 'One Flew Over the cuckoo's Nest', 'Silence of the Lambs' and 'Silver Linings Playbook' each representative of different mental illnesses and showing them in different lights.
A Streetcar Named Desire - 1957
Director: Elia Kazan
In comparison to modern films 'A Streetcar Named Desire's' treatment of mental illness is fairly regressive however quite realistic for the time in which it was set.
In the film 'A Streetcar Named Desire' Blanche's madness is made starkly obvious to the audience. Blanche speaks in a high, floaty and holds herself with loose composure, constantly fanning and fussing over herself. Blanche is also shown to have very negative ways of dealing with her mental instability becoming a secret alcoholic and concealing herself in a world of make-believe. Although there is some attempt to raise sympathy for Blanche, in the backstory created to explain her fragility, Blanche's madness is implied to be self inflicted and therefore the audiences sympathy is limited.
The way in which her mental illness is treated by the film's other characters is again viewed by a modern audience to be regressive but is probably reflective of the attitudes of the time. To begin with, the other characters treat Blanche as they would anyone else, staying weary of her difficulties. However, as the film progresses they become less patient and eventually admit her to a mental institution where she is greeted by a nurse asking if they should restrain her in a 'jacket' showing a classic and therefore cliche interpretation of the treatment of mental illness. 'A Streetcar Named Desire' does however build empathy for mental illness among the audience as the cruel treatment of Blanche is made clear to be unjust and unnecessary.
One Flew Over the Cuckoo's Nest - 1975
Director: Milos Forman
The message of 'One Flew Over the Cuckoo's Nest' shows a progressive view of mental illness especially for the time in which the film was made, challenging the audiences; views on and definition of 'mental illness'.
'One Flew Over the Cuckoo's Nest' works to highlight the injustice of the psychiatric field in the 1960s, saying that the mental health system was working, more for the sake of society than for the people it was meant to be helping. This injustice is shown through the film's protagonist, Randel McMurphy, who is locked away after feigning madness to get out of hard labour. In spite of the fact that he is not technically mentally ill Randel still ends up undergoing a lobotomy, ordered by the doctors who are supposed to be caring for him solidifying their antagonist role within the film.
This film presents mental illness as a fairly fluid concept forcing the audience to question who is and is not 'mentally ill', even within the confines of a mental institution. Since the film was made in the 1970s the treatment of those with mental illnesses has gotten considerably better but still the film has similar impact today as it would have done 40 years ago challenging the barriers between 'normal' and 'abnormal'.
Within 'One Flew Over the Cuckoo's Nest' it is clear that society and those running the mental institutions have very little regard for those suffering with mental illness. Society sees the people within the institution as a threat and has a very 'out of sight, out of mind' attitude to their existence, while the workers at the institution see them like animals which they can poke and prod at their will. This treatment of the patients forces the audience to sympathize with them making the over all message of the film one of huge respect for mental illness.
Silence of the Lambs - 1991
Director: Jonathan Demme
Within 'Silence of the Lambs' mental illness most obviously occurs in the characters of Hannibal Lecter and Buffalo Bill although both characters are serial killers their representation in the film is extremely progressive, especially in the case of Lecter.
Hannibal Lecter is a sadistic cannibal, however this does not define his character. Although he is far from the hero of the film Hannibal is also in no way the villain, he plays a key role in aiding Starling in finding Buffalo Bill, whilst still being an imprisoned murderer. At the beginning of the film it is explained to Starling that Hannibal has previously been very difficult to work with, manipulating people and then refusing to talk when they begin to ask for information however, when Sterling meets him she defies the institutions advice and talks to Hannibal as though he were an ordinary person. Here, much like in 'One Flew Over the Cuckoo's Nest', we see the state system failing (this time failing itself), it again looks as though the system is being unsympathetic to those suffering mental illness which in this instance leads to Hannibal manipulating them into facilitating his escape. 'Silence of the Lambs' hosts the same anti-institutional message of other films on mental illness, the film ends with Hannibal having escaped from prison however Starling is not scared of this stating how he wont come after her as he would "consider that rude", granting a more human side not often awarded to those seen as psychopaths, however his treatment of his ex-jailer, Dr Chilton, demonstrates the way in which Hannibal sought to reward Starling as the film closes on him ominously saying that he's "having an old friend for dinner". There is clear, semi-justified intent in all of Hannibal's actions giving his character a strange respectability which means that when he is not caught at the end of the film the audience sympathize with him and will him to be free, by this point the audience does not despise him for his cannibalism but simply sees itas a part of his character.
Silver linings Playbook - 2012
Director: David O. Russel
Silver Linings Playbook shows a very progressive portrayal of mental illness. In this film mental illness is fairly subtle, being simply an aspect of their personality rather than the characters' defining characteristic.
In this film the way in which their metal illness is portrayed to the audience is much more subtle than earlier pieces. Although the film opens in a mental institution the majority of the film is set within normal, family, suburban life highlighting the pair's ability to participate in everyday life. It is made clear from the beginning of the film that the two protagonists are faulted due to their mental illness, Pat has had an aggressive outburst that got him in trouble with the police and Tiffany exercising her lack of understanding and respect for social etiquette upon entering the film. However, this does not stop them from being the heroes of the piece. The film shows the audience that mental illness is normal and something people shouldn't be ashamed of. Mental illness is depicted as a thing of beauty being embodied by the dance number at the end of the film which celebrates Pat's bipolar disorder.
The way in which other characters treat mental illness is again progressive. Where previously, therapists fulfilled the role of antagonist within films, here the therapist is one of Pat's most positive influences in Pats life. The relationship between parents and their mentally ill children in 'Silver Linings Playbook' is progressive, whilst at the same time realistic. The parents are all caring and accepting of their children but their relationships are not without strain this demonstrates the progression in treatment of mental illness from the days of 'A Streetcar Named Desire' in both the film industry and the wider world.
Meg is ideal for the role because she is a teenage girl, connoting Rose's vulnerability and innocence. She also has brown hair and eyes, conforming to the dark nature and colour palette of our opening, and she has a small frame implying weakness and her inability to defend herself.
Tony was cast as Rose's dad as he is fairly tall, making him appear threatening in comparison to Meg. He also has a Glaswegian accent, stereotypically connoting aggression and violence, enhancing our presentation of Rose's dad to be threatening and dangerous to Rose.
