I watched a movie called ‘The
Gift’ yesterday. And ever since I have been itching to talk about it. Without
going into the details about who plays what and how, and all the things that
seem less important to me right now, I would dive straight into the heart of
the story. Here is how the film begins. And excuse me if my biases show a
little, since the sight of a beautiful property on screen (and otherwise too), makes me go slightly weak on my
knees. So needless to say, the film got me hooked from the very first
scene.
A married couple, I would assume,
in their mid-thirties, is being shown an impressive property in the suburbs of
California by a seasoned broker. The little information she throws here and
there about the house, the polite conversation she makes while walking them through
the rooms, how she points out the important features of the house, is revealing
of the director’s attention to detail which is evident throughout the film.
Robyn and Simon, the couple, move
base to California from Chicago to start over a new life. We are not told the why
of it yet. Simon tells the broker he found a job in this new city and that he
is excited about it. And, that, he had lived in these parts of the country before.
While we are told Robyn’s roots are in Chicago, her credentials are revealed
only when she is introduced to Simon’s colleagues over an office party. And
Simon’s over-the-top validation of Robyn’s freelance home design projects come
off sounding more like a pep talk, which leaves Robyn mostly embarrassed. The
hours when Simon is in office, Robyn jogs, plays with her dog, and cooks dinner,
and on few occasions, visits her friendly neighbor. In one of her solitary
moments at home, she fishes out a crib mobile from one of the unpacked cartons
lying around the house. About which we get to learn more when she tells her
neighbor that, she was pregnant a year back, but that ‘did not have a happy
ending.’ And leaves it at that, saying, ‘will bore you with the details some
other time.’
While out shopping, an old friend
of Simon, Gordo, walks up to them, and introduces himself, and Simon, after straining
his mind for a clue, recognizes him as his old buddy from school. They exchange
numbers and promise to catch up. The next thing the couple knows is, Gordo has sent them a card and Champaign
as a welcome gesture, and quite unexpectedly, one afternoon, he shows up himself
at their doorsteps. Out of courtesy, and probably for company, Robyn invites
him and asks him to stay over for dinner, while they wait for Simon to get back
from work. At dinner table, Gordo gets carried away in his slightly drunken stupor,
and blabbers a great deal about Simon’s reputation of being some sort of a hero
back in school. ‘Because Simon says so’, is his chosen phrase to prove him
point. And the animated conversation remains mostly one sided, with Robyn, who seems
to be the only other person enjoying it. While it leaves Simon awkward, and
slightly irked, which he expresses by indicating Robyn to stop filling Gordo’s
glass with more wine. Once Gordo leaves, Simon shares that the dinner had been
a very ‘awkward’ one for him. And that, Gordo used to be known for being odd,
and was often referred to as a ‘weirdo.’ And Robyn, counters him by saying she
can be like that sometimes socially, and suggests that this was a one off and that,
they don’t have to do it again.
Simon’s confidence at work and how
he scales great heights in his new job suggest how successful he is at
whatever he does, if their house in a posh neighborhood doesn’t speak of it
already. Robyn, on the other hand, seems to be struggling with something. An
irrevocable past that took her child from her, a low self-esteem, despite her
elegant physical attributes and an above average IQ. A loving husband, but a
busy one. These could very well be the reasons why she finds it easy to empathize
with Gordo, who, as it turns out, did not make a great life for himself. And the
film cleverly plays with Robyn’s arc, by making her somewhat melancholic and
having a propensity for the odd and the neglected. And on one instance, when
she sneaks out pills from her neighbor’s restroom, we are introduced to another
aspect of her past she is trying to get rid of.
As Gordo’s visits, cards, and gifts
start to pick up, and he starts making himself useful around the house in
Simon’s absence, Robyn seems to be surprised at his generosity, but doesn’t
doubt his intentions for once. While Simon is steadfast in his belief that they
should be concerned about Gordo walking into their property whenever he fancies.
In a particularly odd but funny setting, Simon suggests that Gordo has his eyes
set on Robyn, and that he has enough reasons to believe he is completely
smitten by her and wants to take Simon’s place.
And Robyn laughs it off hard enough to indicate the absurdity of his
accusations and his hilarious impersonation of Gordo.
So far, through various events
and situations, the film gives its viewers enough fodder to arrive at some
conclusions of their own. But still manages to leave things beautifully sketchy
and the secrets are safely intact. As the mystery of Gordo’s intentions, Simon’s
concerns, and Robyn’s position are revealed, we are in for some unexpected
turns in the story, which mostly leave us at the edge of our seats. Calling it
a revenge drama will be over-simplifying the film. Because at its core, the
film asks some pertinent questions. Questions such as - how much of what the
eyes meet is true, or, what might appear ‘normal’ can be unusual. And what is
often termed as ‘mad’, can be sane. In that sense, the film lends a voice to
those people who stand on the periphery and are often silenced. And most
importantly, ‘how an idea can hold ground’, if it is powerful enough, and can
make or ruin people’s lives. It can also be a commentary on how an irresponsible
act done in the past, can have disastrous consequences. And what happens when a
bad attitude, if not curbed at the right time, can become detrimental to
oneself and to others. And that, how a heartfelt plea for forgiveness could sometimes
be one’s last shot at setting everything right.
‘The Gift’ was a riveting watch
not just for the important messages it sends out, but for the impressive way in
which that is achieved. The director doesn’t lose sight of his goal at any
point, yet never hurries us though any of the scenes. Whether the eeriness
created though the rustle of keys, dead fish in the artificial pond, or
the couple’s pet dog going missing, the film excels in keeping a sense of foreboding
running till the end. The end was particularly appealing to me. By denying a closure
to its characters, the film achieves the poetic justice anticipated in a story like this one. The end left me feeling oddly satisfied.
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