“Alfie tells the story of a young man who leads a promiscuous lifestyle until several life reversals make him rethink his purposes and goals in life.”
- Alfie (1966 film), Wikipedia
“Slacker:
someone who, while being intelligent, doesn't really feel like doing anything.”
- The Urban Dictionary
“Me and some guys from school
Had a band and we tried real hard
Jimmy quit and Joey got married
Shoulda known we'd never get far”
- from “Summer of 69” by Bryan Adams
The self-indulgent fantasies we have throughout our lives include themes of revenge, heroism, regret and sex. Scott Pilgrim vs The World joins a steadily mounting list of films such as Kick-Ass, Brazil, American Psycho, Inglorious Bastards and Once Upon A Time In America where the reality of what we’re watching is blurred by the suggestion that we are not watching events from a third person perspective, but from a first person perspective.
Scott Pilgrim, Kick-Ass and Brazil all feature fairly ordinary young men who go about their lives in a daze, fantasizing about being somebody they’re not and achieving things they can only dream about. In Brazil this is clear, most of the time Jonathan Pryce’s character Sam Lowry drifts off into soft-focus fantasies about being a winged hero rescuing a damsel in distress but eventually finds the reality of enacting such a scenario in real life far more complicated and painful. In Kick-Ass the fantasy is vague and based on how the viewer perceives things. Our main character pretends to be gay in an attempt to maintain a deception-based relationship with a girl he is in love with. The justification for this lying alter-ego manifests itself in a world of superheroes, where retaining ones secret identity is just as important and acceptable. Scott Pilgrim seems to be a little of both. A lot of what goes on in the film is clearly a fantasy, but there is no definition between the real world and the comic book/video game/superhero world. They are all integrated and intertwining in Scott Pilgrim’s mind.
The revenge fantasy of Inglorious Bastards presents an alternate reality where high ranking Nazi’s receive different and much more personally motivated ends and shares themes with Sergio Leone’s gangster epic Once Upon A Time In America about characters who cope with unresolved issues and feelings of guilt or desires for revenge through fantasy. It is believed that in Once Upon A Time In America the scenes where Robert DeNiro’s character Noodles returns to New York as an old man and attempts to solve a thirty year old mystery are the mere opium fuelled dreams of a guilt-ridden young man. With this in mind, you could argue that Inglorious Bastards ends at the beginning with the young girl escaping certain death from murderous Nazi’s through an open field… the rest of the film is her revenge fantasy unfolding as she flees. Scott Pilgrim gets his chance to revise the ending to his own movie, but not so subtly… he can just rewind events and play them out differently, something we’ve all wanted to do from time to time. I suppose you can forgive this time-bending attempt to wash away feelings of defeat and regret, after all, Pilgrim is being forced to play out the extremely petty revenge fantasies of seven other characters.
Towards the end of Scott Pilgrim vs The Word the titular lead character apparently earns the “power of self respect”. However he seems to have nothing but misguided ego and self-respect throughout the film as he lies and cheats his way through a series of meaningless relationships. Somewhere down the line Scott Pilgrim has convinced himself that this is acceptable behavior. He is another Patrick Bateman, and as with the American Psycho “serial killer” how can we possibly trust what our antihero tells us. If he is a liar and a cheat, then why should we accept anything that we see? Has the whole violent series of events we’ve just witnessed been just part of his fantasy?
Taken at face value Scott Pilgrim vs The World is a film let down by a central romance involving two attractive but rather dull and heartless people and never really recovers from it’s weakest but most pivotal plot point: if Scott Pilgrim has to fight seven ex-partners of a girl he’s only just met and knows very little about, how long will it take for him (and the audience) to get fed up and question whether she’s actually worth it?
Not long.
But as a first person fantasy about lust and wish fulfillment it’s an exciting visual spectacle with an abundance of strong supporting characters that add dimension to an otherwise cold little movie. In fact the film really seems to crank up a notch when Jason Schwartzman arrives on screen towards the end. He does so well to brighten things up that you sort of wish they’d written him into earlier parts of the film.
Anyway, none of this matters of course, as it was all just a dream…
3/5
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