Most American films, to one degree or another, develop the theme of relationships between people. Some filmmakers make it their key focus, problematizing these relationships with an element of lack of commitment. Honesty and loyalty in human relationships are clearly called into question in the comparison of several American films. Each film raises the problem of relationships between people and puts it in a new psychological or social light.
Coming-of-age films, such as Forrest Gump, center around a central character who is regularly forced to overcome difficulties communicating with people. His love story is full of continuous misunderstandings, and society constantly uses the hero for their own purposes. His communication in relationships is constantly hampered by the unwillingness of society to meet him halfway, which results in psychological traumas and revelations (Radstone, 2020). However, Forrest’s spontaneity and naivety allow him to remain at ease and happy, even in difficult and life-threatening situations. He turns out to be a man loyal to his friends and even to his long-suffering love Jenny.
Similar problems are experienced by the hero with much higher intelligence from the picture Good Will Hunting. However, the brilliant young mathematician does not try to integrate into society, but rebel against it, getting involved in fights and fights. He does not want to be bound by relationships, as he is smart enough to predict them; therefore, he does not consider it necessary to show devotion. The process of psychotherapeutic re-education of the hero, difficult at first, develops into a friendship with the therapist. Thus, in this picture, mutual understanding allows the hero to find himself.
Freedom Writers demonstrate the difficulties that teenagers experience in relationships with the world around them and between their peers. Erin, the main character of the picture, gradually gains the trust and respect of students who are in a state of extreme discord between themselves and society. At first, Erin’s attempts to discipline the class or to upset an already entrenched imbalance result in even greater escalations of the conflict. However, Erin’s students themselves, difficult teenagers, point out to her that the education system she represents does not really care about children. Erin realizes that she lacks the desire to truly understand adolescents, that a formal approach to building trust with the class is not enough.
However, in some situations, one positive attitude and desire to find a common language in relationships with loved ones may be lacking. Precious is a film that tells the story of relationships between people driven to the brink of baseness by economic and social conditions. The main character of the film is going through an abusive relationship with her parents; one of them is a cruel monster, while the mother blames her daughter for this. The conflict between Mary and Precious reaches its limit when a mother tries to kill her grandson by throwing him on the floor. She blames Precious for the breakdown of the family, although it is obvious that in this way, she encourages her selfish needs, such as her husband’s love and financial assistance from the state. The mother of the protagonist neglects her daughter’s attempt to build a healthy relationship with her; the heroine is bullied by her classmates. However, her vulnerability can still be understood by her teachers and, at the end of the film, by the guardianship authorities since it is impossible to achieve a balance in relations with her mother.
Thus, different problems in trust and relationships between people are extensively explored in contemporary American cinema. The conflicts that are most often considered can be interpreted not only from the position of communication but also from a person’s discord with society. The protagonists of all the aforementioned films try to overcome social and class difficulties or psychological barriers that arise between them and other people.
Reference
Radstone, S. (2020). Screening trauma: Forrest Gump, film and memory. In S. Radstone (Ed.), Memory and Methodology (pp. 66-85). Radstone.