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The Requiem For A Dream Scene That Went Too Far
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The Requiem For A Dream Scene That Went Too Far
By Leo Noboru Lima / Feb. 20, 2022 9:50 am EDT
Darren Aronofsky is a director who has built an entire career out of laying it on as thick as possible. In each of his seven feature films, the American filmmaker has managed to keep coming up with ways to pummel new depths of angst, paranoia, formal intensity, and psychological affliction. But no other Aronofsky film goes quite as dark, quite as relentlessly, as "Requiem for a Dream."
The dorm-room-classic 2000 indie drama, which utilizes two parallel drug addiction stories as bedrocks for a sprawling reflection on human wants and needs, became the stuff of legend for the sheer nightmarish fervor of some of its scenes. As Harry (Jared Leto), Tyrone (Marlon Wayans), Marion ( Jennifer Connelly ), and Sara (Ellen Burstyn) get consumed whole and have their entire sense of reality eroded by substance dependence, they find themselves in situations too despairing and stomach-churning to even describe, culminating in a four-way climatic montage that overlays severe withdrawal symptoms, physical abuse, gangrene, sexual humiliation, forced labor, electroconvulsive therapy, flop sweat, amputation, catatonia, and household untidiness.
For the most part, it's all par for the course — Aronofsky intends to shock and rattle, and that's just what he accomplishes. But there's one particular tactic he utilizes to ramp up intensity that comes off as just cheap, if not outright insensitive.
At the end of "Requiem for a Dream," all four protagonists are, essentially, in hell. Aronofsky designs the movie in such a way as to build to the darkest possible moment in each character's life, interweaving those moments frantically to achieve an indelible horror movie payoff. Sara is submitted to forced ECT and becomes numb. Marion is degraded by a den of sexual sociopaths. Harry and Tyrone are arrested and find themselves all alone in the world.
For Harry, the nightmare is compounded by the amputation of his gangrenous left arm. For Tyrone, meanwhile, hell is a lot less over-the-top. Facing withdrawal while being put through the grind of prison life is a depressing enough fate, but, to rise Tyrone's denouement to the surrounding level of hysteric horror, Aronofsky also has him be verbally and physically berated by racist prison guards, who call him a "dope fiend n*****" in between punches, and force him to "learn some manners."
While it is true that U.S. prisons are known for being horrifying, flagrantly racist environments , that sequence sticks out like a sore thumb. Most of "Requiem" wisely avoids realism and goes instead for emotional acuity. Sara's and Marion's scenes are not offensive, because their horror is nearly expressionistic. But in a film with little room for social commentary, the racism Tyrone experiences is ultimately reduced to another stop in the shock value train. It's a callous treatment for a subject that demands to be handled responsibly.
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The Ending Of Requiem For A Dream Explained
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The Ending Of Requiem For A Dream Explained
By Maria Felix / Updated: June 30, 2021 9:10 am EDT
Darren Aronofsky 's second feature film, "Requiem for a Dream," premiered in 2000. Since then, the movie has become known as one of the provocative director's greatest achievements, despite some critics at the time calling it "the end of Aronofsky's career," as told by The A.V. Club .
On the surface, the film is often said to be about heroin. But Aronofsky himself told Salon that "'Requiem for a Dream' is not about heroin or [other] drugs." Instead, the film explores the broader themes of addiction and loneliness. The fulfillment that Harry Goldfarb (Jared Leto), Marion Silver (Jennifer Connelly), Tyrone C. Love (Marlon Wayans), and Sara Goldfarb (Ellen Burstyn) are truly seeking is set up early in the film. All of them are seeking a way to fill a void in their lives, and alter their realities to fit the dreams they've made up for themselves in their head.
We may know the heart-wrenching fates of our four heroes, but for a deeper look into what it all means, this is the ending of "Requiem for a Dream" explained.
When "Requiem for a Dream" begins, we're planted smack dab in the middle of a New York summer, a hopeful time for the three younger protagonists. Already dabbling with heroin , Harry and Marion are in a budding relationship, infatuated with each other and making plans for their future. Harry and his friend Tyrone concoct a plan that will move them up in the world of drug dealing, convinced they are doing so with the best intentions.
Obtaining a "pound of pure" and selling it means Harry can help Marion sell her fashion designs, and pay back his mother for all the trouble he's caused. But Harry's addiction has had a hold of him for quite some time. As he once again steals his mother Sara's television set, he ignores the utter fear and pain he's causing her. As a result of his well-intentioned, yet illegal actions, Harry ends up imprisoned and near death, and the loved ones he wanted to help have no chance of visiting him.
Tyrone, on the other hand, seeks the comfort and safety that his mother provided when he was a child. She's gone, and in her place is the safety blanket that heroin provides. For the film's 20th anniversary, Wayans reflected on "Requiem for a Dream" with Vulture .
"Everybody has a deficiency," he said. "Everybody has a deep-seated pain that allows them to seek drugs and artificial elation. At the end of the day, I think [the movie is] about really coping and dealing with what's hurting you ... It was a lesson for me, especially right now in my life after losing my mom. I understand that there's never going to be anything to replace her. The only thing I can seek is a different kind of love, a healthy kind of love."
In the same vein as Tyrone, Marion seeks the acceptance she can't find in herself. At first, Harry, who provides both drugs and affection, seems like enough. But as fall and winter descend, so does Marion. While summer was full of great times with Harry, creativity with her designs, money, and hope for the future, by winter, Marion is left alone, addicted, and broke. Willing to do anything for her fix, she gives herself up to a world of prostitution.
There are a number of scenes in which Marion is looking at herself in the mirror, normally before she spirals deeper into her addiction by way of her actions with other men. These moments are symbolic of the internalization of judgment Marion feels from those around her. She mentions her detached parents, and we see the corrupt relationship she has with her therapist, another caretaker who hurts her instead of helping her.
Harry goes to Florida in hopes of scoring more dope, and when Harry is imprisoned, the last bastion of dignity Marion held onto is gone. We last see her curled up with a sack of heroin, having completely lost herself to her drug addiction instead of finding the validation she craves.
Sara Goldfarb has the most heartbreaking existence of the four even when summer begins. A widow with a junkie son, Sara's only constant companions are daytime television and her neighborhood acquaintances. She receives a glimmer of hope when she receives a scam call that promises an appearance on TV. Now with something to look forward to, she believes that being on the show and fitting into her old red dress will bring her happiness again. She's reminded of a time when her husband was alive and when she looked youthful. She is filled with the hope that both Harry and a nationwide audience will come around to fill the empty holes in her life with love and acceptance.
Her desires are unattainable, but much like the dress that doesn't fit, Sara refuses to accept this. She's prescribed diet pills (amphetamines) to fit into the dress, dyes her hair to look younger, and gets the best spot in the sun with her friends. But come fall, Sara has fallen into a deep addiction with appetite suppressants while increasingly ignored by everyone around her. Aronofsky points to Sara's addiction as the crux of his argument against "Requiem for a Dream" being labeled a movie simply about drugs. He told Salon he wanted viewers to see Sara's downfall and ask themselves "Oh, my God, what is a drug?"
By winter, Sara has been completely abandoned in a mental hospital, treated callously by everyone. Instead of being surrounded by the people she loves, she only has her dreams to cling to, and as she curls up into a fetal position, she regresses further into herself, forever trapped in her alternate reality.
When speaking to FilmThreat , Aronofsky said that he considers "Requiem for a Dream" a monster movie, explaining that the monster in question "lived inside" the characters' heads.
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Requiem For A Dream is not an easy movie to watch, as proven by ten of this movie's intense behind the scenes stories.
Darren Aronofsky's Requiem for a Dream is widely considered to be one of the most visceral and disturbing movies ever made on the topic of drug addiction. The film currently ranks #91 on IMDB's Top 250 and earned a slew of acting nominations for star Ellen Burstyn.
Based on the 1978 Hubert Selby Jr. novel of the same name, the story traces the lives of four inter-related drug addicts in Brooklyn, New York who struggle to tame their most crippling inner demons. With the film celebrating its 20th anniversary this December, here are 10 behind-the-scenes facts about Requiem for a Dream .
Prior to Ellen Burstyn being cast in the role, Darren Aronofsky originally wanted Faye Dunaway to portray the pivotal character of Sarah Goldfarb in the film. Dunaway declined the offer. Neve Campbell , of Scream fame, was also the first choice to play Marion before Jennifer Connelly was ultimately cast. Campbell turned down the role when learning it required full onscreen nudity.
The popular stand-up comedian Dave Chappelle also turned down the role of Tyrone Love, which ultimately went to Marlon Waynes. For Harry Goldfarb, Aronofsky initially wanted Giovanni Ribisi to play the part because he had curly blond hair like the character in the novel. The role, instead, went to Jared Leto.
Hubert Selby Jr., the author of the book the movie is based on, makes a brief cameo appearance roughly 90 minutes into the film. He portrays a police officer overseeing Tyrone's incarceration. In addition, when Sarah rides the subway train and begins mumbling about her shoes roughly 75 minutes into the film, the man who barks "You're whacked!" is none other than Darren Aronofsky's father, Abraham.
In yet another brief cameo appearance near the end of the film as TV producers rip apart the set of Sarah's living room, an employee passes by with the Pi symbol on a clipboard. Pi was Aronofsky's previous film as well as his feature debut.
Ellen Burstyn initially rejected the role of Sara Goldfarb in horror after reading the script. But after seeing Aronofsky's Pi , she agreed to play the role. Burstyn endured a rigorous preparation schedule to give what she would later tell Charlie Rose was her finest acting achievement.
For her role as a mother who spirals down into drug addiction and insanity, Burstyn spent four hours per day being fitted in several prosthetics, including four altered fake necks, nine wigs, and two fat-suits (around 20 and 40 lbs each). She also had the camera mounted to her body in several scenes, making her performance all the more physical. Jennifer Connelly also wore a similar rig for some of her own close-ups.
To prepare for his role as the heroin-addicted Harry Goldfarb in the film, Jared Leto lost 28 pounds prior to production. He also did research by hanging out with real heroin addicts on the streets of Brooklyn.
Leto later told Rolling Stone that, prior to filming, he would inject himself with water as a way to simulate heroin use. He also claimed that injecting anything, even something innocuous as water, was so visceral and intense that he would never do so again.
In another preparatory measure, Aronofsky implored both Jared Leto and Marlon Wayans to refrain from having sex and ingesting sugar for 30 days as a way to get into the mindset of their drug-addled characters. While there is no confirmation whether the actors agreed or not, the idea was to get Leto and Wayans to access the sensation of natural cravings and the accompanying desperation while onscreen.
Likewise, Jennifer Connelly prepared by renting the apartment her character lives in during the film and attended Narcotics Anonymous meetings with a friend recovering from addiction.
At roughly 82 minutes into the film, the overhead shot of Marion in the bathtub is directly lifted from a 1997 Japanese anime thriller Perfect Blue . Aronofsky was such a huge fan of this movie that he secured rights to a live-action remake of the film so that he could recreate this one iconic shot.
The shot also calls to mind the infamous bathtub scene in A Nightmare on Elm Street , which Aronofsky also pays tribute to on the soundtrack via the song sample "Laying Traps" featured in the Wes Craven classic.
At roughly 90 minutes into the film, the trippy and surreal shot of Harry falling downward while hallucinating was achieved in a way that could have cost the production a lot of time and money.
To get the downward falling effect right, the camera was attached to the end of a bungee cord and dropped down to see if it would halt inches prior to hitting the ground. The test was successful and the method was employed while filming. While the camera remained intact, the refrigerator prop in Sarah's apartment melted from the interior production lights.
In one of the most memorable sequences in the film, Harry and Marion have a phone conversation with one another that reinforces how far they're drifting apart. Unlike most phone calls in movies, Aronofsky had the two actors speaking to each other for real.
Moreover, both sides of the phone conversation were filmed simultaneously on different ends of the same soundstage. As a way of eliciting genuine reactions, a real phone-line was connected so that Leto and Connelly could communicate with one another.
For most films averaging a runtime of 100 minutes or so, roughly 500-600 shots are used. But thanks to what has been dubbed the "hip-hop montage" sequence, Requiem for a Dream includes an excess of 2,000 shots.
To achieve the rapid-fire sequence, a series of extremely short shots were spliced together and played at a sped-up pace. Aronofsky opted to film the sequence this way to reflect the manic mindstate of a drug addict who was under the influence and the loss of control they would feel as a result.
At roughly 45 minutes into the film, the camera slightly veers away from star Ellen Burstyn while giving a heartfelt monologue. Upset by the technical error, Aronofsky yelled "cut" and asked cinematographer Matthew Libatique about it.
Apparently, Libatique was so moved by Burstyn's monologue about getting old that he began to shed tears during the take and slightly moved the camera because the eyepiece was fogged up. Aronofsky ended up using the take in the final cut of the film.
A Senior List Writer covering a wide array of topics who has been with Screen Rant since September of 2019, Jake Dee has written movie news and reviews since 2008, working primarily with OMG Horror (IGN), JoBlo.com, and Arrow in the Head as a freelance reporter based in Los Angeles. A hopeless cinephile, social media Luddite, certified Nic Cage doppelganger, and a big Weekend At Bernie's fan, Jake can often be found tucked away in a dark corner watching an old horror movie.
Born and raised in California, Jake has a Bachelor's Degree in Film & Digital Media from the University of California Santa Cruz with an emphasis on theory and criticism, is the author of several "WTF Happened To This Movie" and "WTF Really Happened To This Movie" videos on YouTube, and has covered everything in the entertainment industry from set visits, studio luncheons, and red carpet interviews to wrap parties, movie premieres, private screenings, talent interviews, and more.
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