Have you ever had one of those chance meetings with a stranger in a place neither one of you belongs? A space empty of your lives, so that you start new with your first conversation and plunge straight ahead into a suddenly new future?
That's what it's like that day. Soon they're playing at this new toy, their love. They do things together as if they were children doing them. Then they get married and have the unplanned but welcomed Frankie, and the realities of making a living and work schedules and child-raising and real marriage settle in. Dean seems stuck. He seems to stay fixed at the initial stage. Can you see the difference between 1 "He loves me as much as he always did," and 2 "He loves me exactly like he always did"?
From Dean's point of view, maybe nothing did. He wanted to be married to Cindy, and he still does and he still is. Cindy can't stand that. He never signed off on the grow old along with me part.
He doesn't think the best is yet to be. He thinks it's just fine now. Williams plays Cindy as a woman who has lost her pride of body and self. No, she doesn't become a drunk — he's the one who drinks too much. But that's not the problem. It's his infuriating inability to care for this Cindy, right here, right now, because when she married him, she became exactly the Cindy he required.
I wonder what kind of script conferences Cianfrance had with his co-writers, Joey Curtis and Cami Delavigne. They were writing about something ineffable, a void, a need. This wasn't a story with convenient hooks involving things like, you know, disease — things stories are familiar with. It was about inner defeat and the exhaustion of hope. Eileen Rosen Mimi as Mimi. Enid Graham Professor as Professor. Ashley Gurnari Checker as Checker. Jack Parshutich Billy as Billy.
Samii Ryan Amanda as Amanda. Mark Benginia Concierge as Concierge. Derek Cianfrance. More like this. Watch options. Storyline Edit. Dean Pereira and Cindy Heller Pereira are a young, working class married couple - Dean currently working as a painter, and Cindy working as a nurse in a medical clinic - with a young daughter named Frankie. Despite their relatively tender ages, they are both ravaged by the life they've eked out together and by the experiences they've had leading into their marriage.
Dean, a high school drop out, comes from a broken home, where he never really had a mother figure. He never saw himself getting married or having a family despite falling in love at first sight with Cindy. He doesn't have any professional ambition beyond his current work - which he enjoys since he feels he can knock off a beer at 8 o'clock in the morning without it affecting his work - although Cindy believes he has so much more potential in life.
Cindy also comes from a dysfunctional family, with her own mother and father not setting an example of a harmonious married or family life.
One of her previous serious relationships was with Bobby Ontario, that relationship which has a profound affect on many aspects of her marriage to Dean. Dean and Cindy head off on an overnight getaway together without Frankie, the getaway which may provide a clearer picture if their marriage can survive its many issues. Rated R on appeal for strong graphic sexual content, language, and a beating. Did you know Edit. Trivia When filming the argument scenes, director Derek Cianfrance gave instructions to Michelle Williams and Ryan Gosling individually, without the knowledge of the other, in order to create more tension between Dean and Cindy.
For Williams, Cianfrance would instruct her to try to leave the room, use any way to break out of the argument with Gosling, etc. For Gosling, Cianfrance would tell him to use any means to persuade, get Williams attention, etc. Gosling stated it was a new and interesting process as it became a tug game on set. Goofs All the cars driven by the actors had Pennsylvania license plates on the front.
That is inaccurate, since in Pennsylvania you only get one license plate, which goes on the back. Quotes Dean : In my experience, the prettier a girl is, the more nuts she is, which makes you insane.
Crazy credits The initial credits, showing major cast and crew, play over a montage of stills from the film and clips of fireworks. User reviews Review. Top review. Blue Valentine: The Most genuine and heartfelt romance in more than a decade.
If ever there was a perfect film that defines the romantic relationship for the 21st century, Derek Cianfrance's 'Blue Valentine' is that film. We begin at a secluded ranch house where a little girl is trying to find her lost dog. We then see her father Ryan Gosling comforting her. Dean is in fact a New Man, he has changed to meet the times. Asked what he wants to do with his life, he says he wants to "be a husband and father" and dutifully does his wage-slave job in order to make that possible.
And he has every claim to be a good father: he's putting both time and energy into bringing up their five-year-old. What's more he's the one determined to inject some fun, some lightness back into the marriage.
But it's cruel. As a representative of New Manhood, he scores serious points. Back at the start of things, when his new girlfriend can't go through with the pregnancy termination, he's the one who hugs her and suggests that they "be a family" instead.
And, what's more, he knows the baby is probably not his. He does all this and, for some reason, it's still not enough for Cindy. Yes, it's strongly implied that he — high school dropout — has kiboshed her medical school ambitions. But she's the one who decided to keep the baby. And he was right outside, in the waiting room, ready and willing to support her. Six years later, he's the one who gets up and does the 5am to 8am stint with little Frankie.
He digs the hole and buries the dog. He gets to the school concert first. And still, he doesn't pass muster. Which is not to say that good marriages can be built merely on career prospects, quality time or even basic reliability.
There does surely have to be something else. But maybe this search for the Something Else is exactly what kills the future for Dean and Cindy.
They know they want something but have no clear idea of what it is. As men go, Dean represents anything but the feckless, workshy, parenting-averse man whom sociologists now blame for the preponderance of single mothers. Maybe it's Cindy, the businesslike Mom and head-screwed-on radiographer, who is the one who needs to wake up to her own self-generated dissatisfaction.
Now that the man has come over to her side — let's be a family, let's enjoy time with each other, and don't forget the packed lunch — she's the one who cannot ease up, cannot find where she wants to belong. Those who have seen the film will know that I have omitted the man's one big failing: he has a drink problem. He starts with a beer during his morning parenting stint and stays that way for most of the day. Maybe he was always heading that way or maybe he has been driven to it by his wife's gradual withdrawal, but one thing is certain: now things are tough, she makes her one truly big choice.
She can fix it or she can trash it. Six years previously she was offered what any pre-liberation bride would have jumped at.
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