I remember seeing commercials and trailers for a strange sounding flick; ‘Lars and the Real Girl’. The first reaction I had was that this would be a perverted little comedy; after all it was about a man who falls in love with a life size, anatomically correct doll. I suppose it is only natural for the first thought to pass through one’s mind is to be ‘creepy’ and I admit that this was exactly the initial reaction that I had. Almost a decade past and the movie never made my list of films to see but then I was given a chance to review the new Blu-ray release. Almost immediately I came to the realization that for all these years I have been missing a sharply witty comedy that was not only very funny but in a strange way rather insightful. It also occurred to me that the icky feeling that accompanied the initial exposure to the film’s theme was exactly what the filmmaker was going for. He took a decidedly bizarre premise and turned it into a romantic comedy that actually brought as fresh twist to the well established format of a popular genre. One of the factors that differentiate this film from the run of the mill rom-com is the seamless infusion of a dramatic component that provides a foundation of pathos and even empathy. Such elements are required in this instance in order to ground a premise that otherwise would rapidly spiral into foolishness. Instead, the film offers a blend of humor and poignancy that makes for an excellent film. I just love it when I’m pleasantly surprised by a film. This is yet another fine example of why it is important to support independent films. Many mainstream studios, such as MGM here, are setting aside some of their vast resources to back smaller projects like this. Running at a cost of $12 million, with $6,000 devoted to purchasing the staring doll, the film barely cleared $90,000 its opening weekend barely what popcorn sales would amount to with a major block buster. Reported the film only brought in a mere $6 million domestically which would qualify as a financial failure. While it is important to understand the fiscal forces at work in the film industry it cannot not be forgotten that cinema is an art form; a means of expression. A movie like this may not have raked in the profits but it succeeded more than most film in providing a fresh look at a world view normally not considered. It is refreshing that such a little gem is afforded a new lease on life with this high definition edition.

Lars Lindstrom (Ryan Gosling) is a quiet man; unassuming and socially awkward to the point that he routinely avoids interaction with others even with his immediate family. He lives in converted garage apartment behind the family home of his brother Gus (Paul Schneider) and his pregnant wife Karin (Emily Mortimer). Extending from there this social dysfunction extended to his workplace and church creating self imposed social isolation even fleeing in terror from Margo (Kelli Garner), an attractive co-worker overtly interested in him. After all Lars is an intelligent, attractive man who would be considered a good catch by many young women. His brother and sister-in-law are ecstatic when Lars announces that he met someone on line and was bringing her to meet them. This gleeful feel was shorted lived when Lars arrives with his wheelchair bound date. The cause of this chagrin was not her being handicapped; his dare Bianca was a top of the line, anatomically correct doll. They wanted him to reach out for companionship but it never crossed their mind that they should have stressed the requirement for humanoid carbon based life form with an emphasis on life. In every way Lars treats Bianca as if it was a living woman. He even has an extensive back-story for her including her ethic lineage and work as a missionary. Gus and Karin decide that Lars needs professional help and also realize that he would withdraw completely if the just confronted him so they devise a cleaver ruse to bring him to Dagmar (Patricia Clarkson) their family physician who also happens to be a trained psychologist. She is willing to go along and diagnoses Bianca with low blood pressure and prescribes a weekly treatment program. This, of course is a thinly veiled pretense get bring Lars into the office for further evaluation and treatment for his delusions. Some etiological factors are discussed including Lars’ mother dying while giving birth to him and Gus leaving him to deal with their emotionally broken father on his own.

Lars’ perception of Bianca as a real woman is so strong that he extends his social phobia to her manifesting it as a fear of intimacy. Bianca ‘sleeps’ undisturbed in her own motel room which considering the design purpose of the doll is a strongly ironic touch. Soon, Lars ventures out to the town rolling his ‘girl friend’ in her wheelchair introducing her to his neighbors. Lars is well regarded, albeit as the town eccentric, but generally well like so the people go along with treating Bianca as real. After an unusual time bowling with Margo pleases Lars Bianca’s health worsen. Subconsciously Lars is beginning to emotionally bond with Margo but he is unable to cheat on her. This may sound ridiculous but the treatment afforded in the screenplay by Nancy Oliver the situation comes across as genuinely moving. Ms Oliver is no stranger to making an emotional impact through inherently unconventional stories as evident by her scripting episodes of two of HBO’s most successful original series ‘Six Feet Under’ and "True Blood’. Both rose to fame in large part to the placement of powerfully emotional stories against a backdrop of imagination. The director, Craig Gillespie, went on to a rival premium cable network, Showtime’ with his acclaimed look at a protagonist with a dissociative mental problem ‘The United States of Tara’. Overall he took a premise completely off the beaten track and by infusing it with respectfully handled real emotion created a film that explores the fundamental nature of human relationships. It made me sorry I judged this film by its trailer instead of watching, and enjoying it, years ago.