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Fantastical writer Gary Ross (Big,Dave) makes an auspicious directorial debut with this inspired and oddly touching comedy about two '90s kids (Tobey Maguire and Reese Witherspoon) thrust into the black-and-white TV world ofPleasantville, aLeave It to Beaver-style sitcom complete with picket fences, corner malt shop, and warm chocolate chip cookies. When a somewhat unusual remote control (provided by repairman Don Knotts) transports them from the jaded real world to G-rated TV land, Maguire and Witherspoon are forced to play along as Bud and Mary Sue, the obedient children of George and Betty Parker (William H. Macy and Joan Allen). Maguire, an obsessivePleasantville devotee, understands the need for not toppling the natural balance of things; Witherspoon, on the other hand, starts shaking the town up, most notably when she takes football stud Skip (Paul Walker) up to Lover's Lane for some modern-day fun and games. Soon enough, Pleasantville's teens are discovering sex along with--gasp!--rock&roll, free thinking, and soul-changing Technicolor. Filled with delightful and shrewd details about sitcom life (no toilets, no double beds, only two streets in the town),Pleasantville is a joy to watch, not only for its comedy but for the groundbreaking visual effects and astonishing production design as the town gradually transforms from crisp black and white to glorious color. Ross does tip his hand a bit about halfway through the film, obscuring the movie's basic message of the unpredictability of life with overloaded and obvious symbolism, as the black-and-white denizens of the town gang up on the "coloreds" and impose rules of conduct to keep their strait-laced town laced up. Still, the characterizations from the phenomenal cast--especially repressed housewife Allen and soda-shop owner Jeff Daniels, doing some of their best work ever--will keep you emotionally invested in the film's outcome, and waiting to see Pleasantville in all its final Technicolor glory.--Mark Englehart
A life-changing movie! I remember watching the commercials for "Pleasantville" when it first came out in theaters, and thinking it might be good, but that it looked kind of gimmicky. I don't usually like movies where the special effects take over the whole story. But, when a very dear friend of mine recommended "Pleasantville" to me, I decided to rent it. I was totally blown away!!!! I understood the need to make the town of Pleasantville black and white and why the people and surroundings turned into color. The aspect of kids changing into color after having sex didn't really bother me (even though I am very conservative when it comes to my views on premarital sex) because I feel the writer used sex as a metaphor for experiencing life. I really dug it when the main characters (David/Bud and Jennifer/Mary Sue) did not change color when they had sex. For them, the change had to be about something even more profound. All of the actors did a spectacular job, but since I am a big Tobey Maguire fan, I felt his performance stood out. William H. Macy was also excellent as the dad. In short, "Pleasantville" was a life-changing movie that reinforced my belief in being true to yourself, the importance of individuality, and the truth that not all of life's experiences are black and white (forgive me for using an idiom that has been overused in regards to this movie!).
must see I like the part when the black and white turns into colour , I also like the words what are used.
I like the way the person who plays Bud tackles racist behaviour. I AM STUDYING THIS FILM FOR G.C.S.E .
by C.D.T BAILEYFive stars, if only because the resident kook didn't like it This film was ahead of the curve, being a high concept, innovative technical marvel for it's time. The monochrome vs. color metaphor that is the films big-draw trick and center is really about putting yourself out there and taking a chance vs. playing it safe. THAT's the metaphor. Even an eight year old child gets the point. Whether 'they' didn't understand it, or are simply deliberately twisting the meaning in the name of crypto-nazi propaganda is anyone's guess. But they're putting out bad information. If you live in 2005, and find modern media engrossing, you have to give this film it's props. The screenplay isn't brilliant, but the metaphor, and the big trick, are perfect.
