It’s been haunting me for days, this
Melancholia. I can’t seem to get it out of my head—not that I want to.
In the opening sequence, the film’s orchestral score sweeps me up then
drags me under. Kirsten Dunst’s pained expression—eyes half-mast as if
dead, hair dripping—ropes me in with the birds and dark matter falling
from the sky. A Hitchcockian moment, the scene morphs into a series of
super-slow-mo canvases—rich, surreal, botanical, like oil
paintings—mingling with celestial panoramas. I feel gravity's pull, the
essence of depression tugging at me like the grimy swathes shown
entangling the bride’s wrists and ankles, and the weighty steps of a
desperate mother hugging her boy across her chest.
Just like I sometimes carry Calvin, I think, especially when he is having a seizure, trying to find some safe haven.
I sensed that the world might end—planet Melancholia perhaps slamming
into the earth—and I understood the bride’s despair that dampened and
soiled her billowy white chiffon. But what I hadn’t understood was
exactly why I couldn’t stop thinking about the film—its images, its
characters, its music, its ending—kept rolling them over in my mind like
a handful of stones.
A few mornings later, over a cinnamon roll and a perfectly round coconut
cream moon, Michael and I revisited the film. We sat across from each
other in a booth near the window of the little storefront donut shop. I
told him that
Melancholia
had stayed with me ever since we’d seen it several nights before. I
explained how I related to the character, Claire, as she carried her son
alone across a field, each step sinking knee-high into soggy turf,
trying in vain to escape obliteration. I wondered how I’d feel if I knew
that doom was approaching with the ferocity of a hurtling mass,
wondered what I’d do.
“But wouldn’t we know years in advance if a planet was headed toward the earth?” I asked.
“Yes, Michael replied, then reminded me, “but Melancholia had been hiding behind the sun.”
He explained that Melancholia was allegorical, and as he did I realized
I’d foolishly missed it—its painfully obvious metaphor for despair,
grief and loss that seem to come out of nowhere. “Just like Calvin,” I
remarked, tears welling up in my eyes as I licked coconut glaze from my
lips. I reached across the table to hold Michael’s hand whose clear blue
eyes appeared moist and edged pink. “Yep, just like Calvin,” he added,
and I cried for our boy—and for us—hit so hard with illness, suffering,
debilitating conditions, epilepsy and its heinous treatments.
We went on to talk about how everyone has their own Melancholia that
suddenly appears, bringing us to our knees. For some—like us—it comes in
the form of an ill child. For others, it’s the loss of a job, the
passing of a parent, sibling, spouse or partner, a terminal disease, a
chronic condition, an abusive relationship, a divorce, the death of a
child. We cannot escape, none of us.
And so I ate my last piece of donut in relative silence, then tasting nothing
but a thin, greasy film on the roof of my mouth, thinking about
Calvin's clear blue eyes, like two celestial orbs reflecting all of my
grief, loss and fear, but also my salvation.
We're two planets colliding, I lovingly thought,
Calvin: my own little Melancholia, my moon, my star.
Originally published 04-30.12.
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| from Melancholia, directed by Lars von Trier |