A high school teacher's personal life becomes complicated as he works with students during the school elections, particularly with an obsessive overachiever determined to become student body president.
A chronicle of country music legend Johnny Cash's life, from his early days on an Arkansas cotton farm to his rise to fame with Sun Records in Memphis, where he recorded alongside Elvis Presley, Jerry Lee Lewis and Carl Perkins.
David, single, lonely and not happy with his life, flees reality by watching Pleasantville - a 1950's b&w soap opera, where everything is just that... pleasant. His sister Jennifer, sexually far more active than her brother, gets in a fight with him about a very strange remote control. The remote was given to them just seconds after the TV broke, by an equally strange repair man. They suddenly find themselves in Pleasantville, as Bud and Mary-Sue Parker, completely assimilated and therefore black and white, in clothes a little different and with new parents... pleasant ones. David wants to get out of the situation as well as his sister, but whereas he tries to blend in (effortlessly, with his knowledge), she does whatever she wants to do. One event leads to the other, and suddenly there is a red rose growing in Pleasantville. The more rules are broken, the more colorful life gets in Pleasantville, USA. Written by
Julian Reischl <email@example.com>
In the bowling alley, we are shown a sequence of 7-10 splits converted to spares. This should be marked as an 8-/ on a scorecard. However on the scoreboard projected behind Bob, there are no frames with any 8s. Even if the scores hadn't been recorded yet, we should at the very least see 8s with the top right squares blank. See more »
[David is gazing admiringly at a pretty blonde girl]
I mean, Hi. Uh, look, you probably don't think I should be asking you this. I mean, not knowing you well and all? I mean, you know, I, I, I know you, 'cause everybody knows you. I just don't know you technically. Uh, anyhow. Uh, I don't know what you're doing this weekend, but my mom's leaving town, and she's letting me borrow the car.
[...] See more »
The New Line logo plays in complete silence. See more »
The basic theme here being that the meaningful life requires breaking out of rigid, dull and conventional roles, this film's story sucks two teens back through their television set to a fictitious 1950s sitcom named "Pleasantville," where life is in gray-tones until they start breaking the rules. The self-referential notion of having characters interact with the very media which represents them has its counterpart as far back as 1924 with Buster Keaton in "Sherlock Jr.," in 1970 with a low-budget film named "The Projectionist," and in 1985 with Woody Allen's "The Purple Rose of Cairo." But where the others explore the private experience of self-discovery through their enmeshment with the media, this one explores a much wider public awareness. In that sense it is a very cleaver and intelligent story, offering numerous social messages worthy of consideration.
On the downside, its message that "different" is better mostly translates into "contrary" means better, providing an "anything goes" mentality in answer to conventional values. The rules are to be broken by gratuitous sex, loud music, and cheap garish art. Not "transcending" in answer to different, but rather setting up what is conventional today as more desirable than what was conventional back then. Exchanging one convention for another is not for that reason an improvement, and the attempt to do so results in a self-congratulatory narcissism of the form: See how much more urbane and sophisticated we are than our parents were? The 1950s are set up as a straw-man, while the values of the 1990s are simply taken for granted as superior. Hence the deeper questions of change, growth and improvement, are never asked, and what we are given merely puts the past down without bringing up the present.
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