Embedded Files
Truman has lived in the manufactured Seahaven Island for twenty-nine years without realising that his world is not real. However, in his twenty-ninth year a series of events catalyse his quest for the truth. This quest manifests initially as an underlying desire for freedom, symbolised by his secret infatuation with Lauren, played by actress Sylvia.
This search for something 'other' represents Truman's unhappiness and dissatisfaction with his mundane life. With Sylvia comes the idea of escapism, symbolised by Fiji, the country Truman believes she has been taken to with her family. In dialogue with Marlon, Truman reveals again the reason for his fascination with Fiji: 'Fiji. You can't get any further away until you start coming back.'
Truman's yearning for freedom is a social comment on the widespread feelings of futility and depression that many individuals feel in contemporary society. The mundanity of repetitive work or school obligations, and the absence of wonder or adventure in everyday life can lead to desire for escapism. Often this is described as a 'mid-life crisis' or other form of existential crisis where people question the purpose of their life.
The human desire for truth and freedom is explored through Truman's confusion about his place within his world. Truman shares his growing sense that his life is not what he thought it was and his desire to find out the truth is shown in his conversation with Marlon. Truman ponders 'Maybe I'm being set up for something. Ever felt like that Marlon? Like your whole life is a build-up for something?' to which Marlon replies 'Nah'. Marlon acts as an obstacle to Truman's quest for truth and connection, which is highlighted through Marlon's ironic reference to the sun as an attempt to distract Truman from his questions about life: "Look at that sunset. Perfect. Yup, that's the big guy. Quite a paint brush he's got." The dramatic irony of his reference to the 'big guy' is evident as we know of Christof's manipulation of the weather in Seahaven, with his name referencing his god-like powers.
Throughout the film a number of 'glitches' occur which reveal the constructed nature of Seahaven, including: the theatre light falling from the roof of the set; the walkie-talkie frequency being broadcast; the elevator being fake in one of the buildings and others. Initially, Truman allows himself to be talked back into believing that the world he inhabits is not fake. This is because the perceived cost of rebelling seems to high to him.
Truman's desperate quest to find out the truth about his life is heightened when he realises that the actors repeat the same actions. Sitting in his car with Meryl, he predicts what will happen next as he screams 'They're on a loop...They just go around and around" and his frustration peaks as Meryl refuses to engage in his conversation. Truman cries 'Are you listening to a word I'm saying?' and the scene intensifies as he reverses the car and attempts to reveal to her the bizarre truth of the world that he has discovered.
Task
Task
1. How has the characterisation of Truman changed in this scene compared to the earlier parts of the film to reflect his growing scepticism and resistance? Refer to the type of tone he is using, the type of things he says and his mannerisms and gestures.
2. The scene begins with Truman having figured out that people move in 'loops' in Seahaven. Later on it is revealed that actors begin in their "first positions". What social comment or social critique about our contemporary society is the film making by including this aspect?
3. Write a 250 word paragraph in response to this question: "How does Weir represent Truman's transformation and his quest for truth and freedom?"
Sample Answer
Sample Answer
Peter Weir uses the transformation of the character of Truman to explore the tentative steps people take to resist social control and the obstacles they face on their journey. This is represented in the scene where Truman has discovered that Seahaven residents move in 'loops', which is a critique of the repetitive nature of life under capitalism. The shot of Truman's face reflected in the car's side mirror, a repeated shot in the film, reveals his increasingly agitated state. He screams triumphantly 'Blocked at every turn. Beautifully synchronised don't you think?' and then observes 'Look Meryl, same road and no cars, ha ha!" The cynical comments and sarcastic tone Truman has started using here contrasts sharply with the earnestness his character exhibited in the beginning of the film, reflecting his increasing scepticism and desire to resist the false reality. This fast-paced and tense scene then cuts to the overhead extreme long-shot of the car stopped at the bridge symbolising Truman's anxiety and personal limitations. After Truman overcomes his fear and drives over the bridge, the introduction of invented dangers - a bushfire and nuclear power plant leak - represents the many obstacles that can confront a person on their quest for truth and freedom.
Final Scene
Final Scene
The final scene is incredibly emotive and illustrates Truman's final decision to escape from the confines of his fabricated world and seek the freedom of reality, regardless of the consequences. Christof's ruthless decision to create a storm over Truman as he sails across the 'sea' reinforces the reasons why Truman must escape: he lacks individual power and autonomy. Truman's determination to escape, and his new sense of recklessness is seen in his rhetorical question and exclamation 'Is that the best you can do? You're gonna have to kill me!'
The final scene is incredibly emotive and illustrates Truman's final decision to escape from the confines of his fabricated world and seek the freedom of reality, regardless of the consequences. Christof's ruthless decision to create a storm over Truman as he sails across the 'sea' reinforces the reasons why Truman must escape: he lacks individual power and autonomy. Truman's determination to escape, and his new sense of recklessness is seen in his rhetorical question and exclamation 'Is that the best you can do? You're gonna have to kill me!'
Christof echoes Truman's recklessness when he commands Simeon, the producer, to 'increase the wind' and the camera reveals huge waves hitting the boat while an overhead shot of Truman shows him being flailed by the water. This is intercut with shots of viewers at home looking shocked and worried. Weir reminds the audience that the pursuit of freedom and truth can be fraught with danger but ultimately is a path worth taking. This is illustrated through the symbolic sunrays which slice through the clouds coupled with the emotive music when it is revealed that Truman has survived.
Christof echoes Truman's recklessness when he commands Simeon, the producer, to 'increase the wind' and the camera reveals huge waves hitting the boat while an overhead shot of Truman shows him being flailed by the water. This is intercut with shots of viewers at home looking shocked and worried. Weir reminds the audience that the pursuit of freedom and truth can be fraught with danger but ultimately is a path worth taking. This is illustrated through the symbolic sunrays which slice through the clouds coupled with the emotive music when it is revealed that Truman has survived.
Through the perspective of the mast cam we see Truman hoisting the sail, symbolising his determination to escape. He is literally sailing free from the facade of Seahaven. The intense solemnity of the scene is undercut playfully when the boat hits and rips the part of the set representing the horizon. The close-up of Truman reaching out to literally touch the edge of his world is momentous and the emotion of the scene is heightened by the orchestral music. The realisation that his world has been a lie creates mixed emotions of confusion, anger and sadness, all of which are portrayed through the facial expressions of actor Jim Carrey and captured via mid-shot. Weir then cuts to an extreme long-shot, revealing Truman and his boat in the far-left corner of the screen. We watch Truman through a tracking shot as he walks along the edge of his 'world' (actually the edge of the set), making him look like he is literally walking on water in an allusion to Christ. The parallel here is that Truman was ready to sacrifice his life for the truth, as Christ is said to have done.
Through the perspective of the mast cam we see Truman hoisting the sail, symbolising his determination to escape. He is literally sailing free from the facade of Seahaven. The intense solemnity of the scene is undercut playfully when the boat hits and rips the part of the set representing the horizon. The close-up of Truman reaching out to literally touch the edge of his world is momentous and the emotion of the scene is heightened by the orchestral music. The realisation that his world has been a lie creates mixed emotions of confusion, anger and sadness, all of which are portrayed through the facial expressions of actor Jim Carrey and captured via mid-shot. Weir then cuts to an extreme long-shot, revealing Truman and his boat in the far-left corner of the screen. We watch Truman through a tracking shot as he walks along the edge of his 'world' (actually the edge of the set), making him look like he is literally walking on water in an allusion to Christ. The parallel here is that Truman was ready to sacrifice his life for the truth, as Christ is said to have done.
The camera's close up on the word 'EXIT' printed on the door handle symbolises Truman's genuine chance of escape. Christof's attempt to keep Truman inside, to reassure him that this show was created to make his life better, is refuted by Truman, who reveals to the viewers a deeper insight into what it means to be human and to have individual freedom: 'You never had a camera in my head'.
The camera's close up on the word 'EXIT' printed on the door handle symbolises Truman's genuine chance of escape. Christof's attempt to keep Truman inside, to reassure him that this show was created to make his life better, is refuted by Truman, who reveals to the viewers a deeper insight into what it means to be human and to have individual freedom: 'You never had a camera in my head'.
The camera cuts to a shot of Sylvia, who sits at her TV sceen praying that he makes the brave decision to leave. The audience identifies Sylvia as the catalyst for Truman's desire for freedom. Christof's inability to understand Truman's genuine need for personal freedom is seen in his frustrated request of 'Say something god damn it. You're on television. You're live to whole world,' showing he continues to value attention and power above all else. Truman's memorable farewell to the show reflects his genuine character as he now says his famous catch-phrase but in a sarcastic tone: 'In case I don't see I don't see ya, good afternoon, good evening and good night' - which then cuts to a shot of Sylvia leaving her apartment to meet him and montage of the viewers celebrating Truman's escape.
The camera cuts to a shot of Sylvia, who sits at her TV sceen praying that he makes the brave decision to leave. The audience identifies Sylvia as the catalyst for Truman's desire for freedom. Christof's inability to understand Truman's genuine need for personal freedom is seen in his frustrated request of 'Say something god damn it. You're on television. You're live to whole world,' showing he continues to value attention and power above all else. Truman's memorable farewell to the show reflects his genuine character as he now says his famous catch-phrase but in a sarcastic tone: 'In case I don't see I don't see ya, good afternoon, good evening and good night' - which then cuts to a shot of Sylvia leaving her apartment to meet him and montage of the viewers celebrating Truman's escape.
Analysis Table
Analysis Table
Paragraph writing
Paragraph writing
Write a 250 word PEEL paragraph in response to:
"How does Weir use his distinctive film style to represent how people must overcome obstacles in the search for truth and freedom?"
Creative writing
Creative writing
Imagine that the Truman Show has now finished and Truman (who has changed his name now), is trying to get on with the rest of his life. He has started a relationship with Sylvia and has made new friends. But he is constantly struggling with trusting people, because there is always a part of him that doubts whether his new life is any realer than his old life inside Seahaven.
Write an imaginative piece of at least 1000 words, that develops this idea.
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