Gyann Loaded

                                                                                                By Muskan Mehndiratta

All the Bright places is a 2020 American teen romantic drama film, directed by Brett Haley, from a screenplay by Jennifer Niven and Liz Hannah, based upon the novel of same name by Niven. It stars Elle Fanning, Justice Smith, Alexandra Shipp, Kelli O’Hara, Lamar Johnson, Virginia Gardener, Felix Mallard, Sofia Hasmik, Keegan-Michael Key and Luke Wilson.

“All The Bright Places” may tackle a few dark issues, but this teen weepie about two hurting souls is drenched in warmth and compassion. Adapted by Jennifer Niven and Liz Hannah from Niven’s best selling young adult novel, Haley’s feature contains all the necessary ingredients for success that films like “The Fault in Our Star” and its ilk have undeniably cute reads adept at conjuring cheers and tears, a solid soundtrack and a pass-the-tissues third act— yet its pure beating heart and humanistic undertones make it somewhat of a standout.

That said, audience might want to exercise some caution as content dealing with suicide, grief and mental health, while handled with an extremely sensitive touch, might be triggering for those who feel compromised. while out running one morning, Theodore Finch (Justice Smith) spots classmate Violet Markey (Elle Fanning) silently contemplating jumping of a bridge. She’s been withdrawn and grief-stricken since the death of her sister a year prior. Finch Hops up on the ledge, offering Violet a hand and an unspoken pledge that she is no longer alone in her struggle. He too can relate as he’s looking for reasons to stay alive, scribbling them down on a fleet of color-coded Post-Its that polka-dot his bedroom walls.

Though the filmmakers never never specifically nail down a clinical diagnosis, Finch’s apparent manic depression casts a long shadow over all aspects of his life. Finch’s erratic behaviour– causing destruction and ditching class for elongated stints– at their high school has earned him the nickname “freak.”

Their lives change when their geography teacher assigns them a travelogue project that has the students wandering all over Indiana (Ohio stands in as the filming location), chronicling wondrous sights off the beaten path. The duo bond through these activities, logging local attention like the highest point in the state, a backyard roller-coaster, a shoe- covered tree and an interpersonal chalk wall display.

His affection encourages her to embrace life, while her presence provides him a tether to the living. However, as one of them ascends into the light, the other descends into a darker place. Blessedly, characters don’t always respond in perfect postcard or predictable ways, which keeps things from traversing into afterschool special territory. Finch and Violent don’t do and say the exact right things when called for. It never crosses Finch’s mind that he shouldn’t give Violent a potential death scare when she’s already witnesses her sister perishing. Finch doesn’t verbalize his issues properly to people who could help, like his guidance counsellor (Keegan Michael Key) and older sister (Alexandra Shipp). Violent doesn’t bring her concerned dad (Luke Wilson) along when she’s frantically searching for Finch. Still, the filmmakers take precautions to avoid manipulative devices. The shedding of tears may be unavoidable, but atleast it’s earned catharsis. One of the subtler aspects of the story telling is the context of their geography assignment, which is a metaphor for locating the sources of their pain and shining a light on those patches.

Its also refreshing that this doesn’t play out in expected ways with both characters fixing each other. Those sentiments aren’t healthy and true to reveal life. The filmmakers are interested in showing different facets of grief where one is able to heal and the other is lacking those same capabilities.

Cinematographer Rob Givens’ saturated approach resounds in scenes that unabashedly embrace romantic overtones, basking the two leads in the warm glow of the golden hour, or the soft low light of their rainstorm smooch. It also stands strong in sequences where their emotions become cooler, rougher around the edges and more difficult to define. Suzy Elmiger’s cuts allow for the performers to guide the rhythm and flow of the scenes.

Still,”All The Bright Places” would be nowhere without Haley’s vision and deft ability to deliver all of the feels. He finds places to let his bright intellect shine, perfectly crafting heartrending melodrama through tonal placing that’s never cloying nor disgustingly saccharine.