2 years, 3 months ago
Shutter Island Analysis and Questions
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OK, this thread is for people who have seen Shutter Island and who would like to discuss the questions raised in the film. DO NOT READ THIS IF YOU HAVE NOT SEEN SHUTTER ISLAND YET!!!!
Questions raised:
1. What did you think of the green-screen boat ride at the start? Why did Martin Scorcesse choose to do this in your mind?
2. What did the film do really well in your mind?
3. What is the single weakest element of the film?
4. Who gave the three best performances--in order--the film?
5. What was your favorite scene in the film?
6. What's your favorite line or conversation from the film?
7. How did Leo do?
8. At what point did you first suspect there was a twist? Did you guess the twist before it became obvious?
9. Who would have done a better job in Leo's role and as director in your mind--in anyone?
10. What other questions does the film raise?
videos:
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M$5 Answers
1. What did you think of the green-screen boat ride at the start? Why did Martin Scorcesse choose to do this in your mind?
I think this opening scene is among the strongest in the film, and Scorsese uses it to distance the island itself from the real world in our minds. Note that we never get an unfiltered view of the "real world" outside the asylum - our only information about reality beyond the walls of Ashecliffe comes from the (untrustworthy) memories and flashbacks of Teddy. This sequence is as close as we will get to authentic reality in the film, and the use of greenscreen and extreme angles to emphasize even its ambiguity and absurdity basically indicates that nothing we are about to see can be entirely trusted. (Also, from a purely aesthetic viewpoint, by starting the film on a small ship in choppy waters, with the main character vomiting, and with peculiar visual effects to make the environment somehow unrealistic and heightened, Scorsese puts us on edge from Minute 1 of the film. It's the first of many visual techniques he will use to make his audience feel uncomfortable or ill-at-ease throughout the movie, in an effort to subconsciously heighten the tension.)
2. What did the film do really well in your mind?
The cinematography, to me, is the standout here. The film manages to combine the visual styles of two vastly different kinds of thrillers - an intense psychological horror film and a '50s period detective movie - into a coherent, unified whole. I loved the way that we subtly flipped from the early scenes of Teddy pursuing an investigation that actually has some level of logical sense to it to a hallucinatory world that exists only in his mind. Scorsese's use of color is amazingly spot-on...Lush, bright colors in Teddy's fantasies, cold dull grays and greens when he's facing the truth. It wonderfully emphasizes how much comfort he finds in the made-up world of "Teddy" than the real life of Andrew.
3. What is the single weakest element of the film?
To be honest, I had this same issue with the book. After the mausoleum scene, we're left with a world and an investigation that just doesn't really make sense any more. I think the story really needs to start wrapping itself up here. Instead, we get scene after scene of Teddy wandering around "Shutter Island," having a series of 'revelations' that don't move the narrative forward much, and everything sort of grinds to a halt and feels repetitive. It makes sense, in terms of the overall story, that this happens. Teddy's entire dilemma is that his mind constantly replays these fantasies over and over again. But that doesn't make it more satisfying or entertaining as a viewer (or reader). The pacing in the film's second half felt very off to me, and though the ending was handled well, I don't really feel like it recovered.
4. Who gave the three best performances--in order--the film?
- Leonardo DiCaprio: The entire movie's basically resting on his shoulders, and he handles the transition from beleaguered US Marshall to mental patient without overplaying it.
- Michelle Williams: The "real" flashback we see between Andrew and Dolores, by the lake, is the strongest and most harrowing scene in the film. She's pretty phenomenal here, and I was really surprised by how her character here and her "presence" in Teddy's mind were sort of mirror images of one another. He's clearly remembering some aspects of her personality while adjusting other ones to fit his present state of mind.
- Max von Sydow: Perfectly cast. His back-and-forth upon meeting Teddy in the doctor's lounge was one of my favorite bits of dialgoue in the film.
I also thought Patricia Clarkson and Mark Ruffallo were standouts.
5. What was your favorite scene in the film?
Think I've covered it already, but the flashback bit where we see what "really" happened to Andrew's family is like a punch to the gut, even though we know what's coming. In terms of the effects sequences, I thought the fantasy in which Teddy watches his wife turn to ash was pretty remarkable, especially in the use of "backwards" chronology (smoke disappearing into Teddy's cigarette, for example) to heighten the surreality and dream-like quality.
6. What's your favorite line or conversation from the film?
Again, covered it above, but the back-and-forth between Von Sydow's doctor and Teddy. I also thought the bit in the cave with Teddy and the "real" Rachel was well-done.
7. How did Leo do?
Quite well. He still did the tick he does in every movie - where he puts his face in his hands and pushes his eyebrows together - which bugs me because it's so transparently what he does to express being "troubled." But otherwise, I think this is probably his best performance since "Aviator."
8. At what point did you first suspect there was a twist? Did you guess the twist before it became obvious?
Can't really answer this one, as I read the book, but I think the mausoleum scene, when Teddy's suddenly bringing in Covert Ops and the CIA and HUAC into the conspiracy, is where you can really tell that he's becoming untethered to reality.
9. Who would have done a better job in Leo's role and as director in your mind--in anyone?
Well, you can't really top Scorsese, who's easily in the Top 5 living directors at this point. But when I was reading the book, I was thinking that David Fincher could probably have done a good job with this material. Clint Eastwood also directed a movie based on a Dennis Lehane book - ''Mystic River'' - and I think this material's actually better suited for him than that novel.
I thought DiCaprio was quite good, though I was picturing Teddy as more of a traditional "tough guy" in the book, with all the talk of his service int he war and his violent nature.
10. What other questions does the film raise?
I think, above all, it's about the nature of madness. For the sane, it is impossible to comprehend "insanity" - or at least criminal, delusional insanity, of the kind suffered by the patients of Shutter Island. Like Teddy in the beginning of the film, we are only left to wonder why the insane can't simply "snap out of it" or will their delusions away.
But for the insane, it is ALSO impossible to comprehend of insanity, because they believe themselves to be sane. So in essence, no one has ever been able to pause for a moment and truly experience the state of being insane, and Scorsese's film attempts to artificially give you that sensation, of having the rug of reality swept out from under you.
I think this opening scene is among the strongest in the film, and Scorsese uses it to distance the island itself from the real world in our minds. Note that we never get an unfiltered view of the "real world" outside the asylum - our only information about reality beyond the walls of Ashecliffe comes from the (untrustworthy) memories and flashbacks of Teddy. This sequence is as close as we will get to authentic reality in the film, and the use of greenscreen and extreme angles to emphasize even its ambiguity and absurdity basically indicates that nothing we are about to see can be entirely trusted. (Also, from a purely aesthetic viewpoint, by starting the film on a small ship in choppy waters, with the main character vomiting, and with peculiar visual effects to make the environment somehow unrealistic and heightened, Scorsese puts us on edge from Minute 1 of the film. It's the first of many visual techniques he will use to make his audience feel uncomfortable or ill-at-ease throughout the movie, in an effort to subconsciously heighten the tension.)
2. What did the film do really well in your mind?
The cinematography, to me, is the standout here. The film manages to combine the visual styles of two vastly different kinds of thrillers - an intense psychological horror film and a '50s period detective movie - into a coherent, unified whole. I loved the way that we subtly flipped from the early scenes of Teddy pursuing an investigation that actually has some level of logical sense to it to a hallucinatory world that exists only in his mind. Scorsese's use of color is amazingly spot-on...Lush, bright colors in Teddy's fantasies, cold dull grays and greens when he's facing the truth. It wonderfully emphasizes how much comfort he finds in the made-up world of "Teddy" than the real life of Andrew.
3. What is the single weakest element of the film?
To be honest, I had this same issue with the book. After the mausoleum scene, we're left with a world and an investigation that just doesn't really make sense any more. I think the story really needs to start wrapping itself up here. Instead, we get scene after scene of Teddy wandering around "Shutter Island," having a series of 'revelations' that don't move the narrative forward much, and everything sort of grinds to a halt and feels repetitive. It makes sense, in terms of the overall story, that this happens. Teddy's entire dilemma is that his mind constantly replays these fantasies over and over again. But that doesn't make it more satisfying or entertaining as a viewer (or reader). The pacing in the film's second half felt very off to me, and though the ending was handled well, I don't really feel like it recovered.
4. Who gave the three best performances--in order--the film?
- Leonardo DiCaprio: The entire movie's basically resting on his shoulders, and he handles the transition from beleaguered US Marshall to mental patient without overplaying it.
- Michelle Williams: The "real" flashback we see between Andrew and Dolores, by the lake, is the strongest and most harrowing scene in the film. She's pretty phenomenal here, and I was really surprised by how her character here and her "presence" in Teddy's mind were sort of mirror images of one another. He's clearly remembering some aspects of her personality while adjusting other ones to fit his present state of mind.
- Max von Sydow: Perfectly cast. His back-and-forth upon meeting Teddy in the doctor's lounge was one of my favorite bits of dialgoue in the film.
I also thought Patricia Clarkson and Mark Ruffallo were standouts.
5. What was your favorite scene in the film?
Think I've covered it already, but the flashback bit where we see what "really" happened to Andrew's family is like a punch to the gut, even though we know what's coming. In terms of the effects sequences, I thought the fantasy in which Teddy watches his wife turn to ash was pretty remarkable, especially in the use of "backwards" chronology (smoke disappearing into Teddy's cigarette, for example) to heighten the surreality and dream-like quality.
6. What's your favorite line or conversation from the film?
Again, covered it above, but the back-and-forth between Von Sydow's doctor and Teddy. I also thought the bit in the cave with Teddy and the "real" Rachel was well-done.
7. How did Leo do?
Quite well. He still did the tick he does in every movie - where he puts his face in his hands and pushes his eyebrows together - which bugs me because it's so transparently what he does to express being "troubled." But otherwise, I think this is probably his best performance since "Aviator."
8. At what point did you first suspect there was a twist? Did you guess the twist before it became obvious?
Can't really answer this one, as I read the book, but I think the mausoleum scene, when Teddy's suddenly bringing in Covert Ops and the CIA and HUAC into the conspiracy, is where you can really tell that he's becoming untethered to reality.
9. Who would have done a better job in Leo's role and as director in your mind--in anyone?
Well, you can't really top Scorsese, who's easily in the Top 5 living directors at this point. But when I was reading the book, I was thinking that David Fincher could probably have done a good job with this material. Clint Eastwood also directed a movie based on a Dennis Lehane book - ''Mystic River'' - and I think this material's actually better suited for him than that novel.
I thought DiCaprio was quite good, though I was picturing Teddy as more of a traditional "tough guy" in the book, with all the talk of his service int he war and his violent nature.
10. What other questions does the film raise?
I think, above all, it's about the nature of madness. For the sane, it is impossible to comprehend "insanity" - or at least criminal, delusional insanity, of the kind suffered by the patients of Shutter Island. Like Teddy in the beginning of the film, we are only left to wonder why the insane can't simply "snap out of it" or will their delusions away.
But for the insane, it is ALSO impossible to comprehend of insanity, because they believe themselves to be sane. So in essence, no one has ever been able to pause for a moment and truly experience the state of being insane, and Scorsese's film attempts to artificially give you that sensation, of having the rug of reality swept out from under you.
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M$
1. What did you think of the green-screen boat ride at the start? Why did Martin Scorcesse choose to do this in your mind?
I didn't see anything wrong with it. I'm not certain what you're getting at here. Are you upset that he used green screen instead of shooting on an actual boat? It didn't seem off to me.
2. What did the film do really well in your mind?
It was brilliantly directed, naturally. Scenes that would come off as pretentious if attempted by any other filmmaker instead are successful and hit just the right tones.
As a movie, I think its biggest success was that in revealing the twist, we as the audience were turned into the patient ourselves. I don't know about you, but I didn't want to believe that *spoiler* Kingsley was a good guy. So I think the biggest success was how it engrossed me and played with my head as well.
3. What is the single weakest element of the film?
As psychiatrists, after that line from Leo at the end of the film, I'm not sure they would have given up on him. By that line, it was pretty clear that he was lying, and I think they would have tried to help him even more at that point. But it certainly has a great deal of impact as an ending.
4. Who gave the three best performances--in order--the film?
Kingsley
DiCaprio
Earl-Haley
5. What was your favorite scene in the film?
The first dream sequence in their apartment.
6. What's your favorite line or conversation from the film?
The first conversation with Max Von Sydow's character. Like all other conversations in the movie, it has a great difference to it once you know the twist.
7. How did Leo do?
Very well, actually. Sometimes he seems a little too...slight...for some roles. He was in danger of that a few times here, but I thought he was very effective.
8. At what point did you first suspect there was a twist? Did you guess the twist before it became obvious?
Here's the truth: I don't intend to brag here, and I absolutely DO NOT try to even figure out a twist if I know there is one, but I figured this twist out in the first 3 minutes of the film. Something about the combination of starting out on that boat, and the way he talked about his missing cigarettes just gave me this feeling like he was *spoiler* actually a patient at the island. Again, I seriously do not like to try to figure out twists, I like to let them hit me, like in all the M Night movies. But this one had a familiarity to it. However, I didn't see the VERY end of the film coming. That was a surprise to me.
9. Who would have done a better job in Leo's role and as director in your mind--in anyone?
Can't think of many, as Leo fits what Scorsese was trying to do, IMO.
10. What other questions does the film raise?
I'll tell you the question it raises: is there a better director of film alive today than Martin Scorsese? My answer: probably not.
I didn't see anything wrong with it. I'm not certain what you're getting at here. Are you upset that he used green screen instead of shooting on an actual boat? It didn't seem off to me.
2. What did the film do really well in your mind?
It was brilliantly directed, naturally. Scenes that would come off as pretentious if attempted by any other filmmaker instead are successful and hit just the right tones.
As a movie, I think its biggest success was that in revealing the twist, we as the audience were turned into the patient ourselves. I don't know about you, but I didn't want to believe that *spoiler* Kingsley was a good guy. So I think the biggest success was how it engrossed me and played with my head as well.
3. What is the single weakest element of the film?
As psychiatrists, after that line from Leo at the end of the film, I'm not sure they would have given up on him. By that line, it was pretty clear that he was lying, and I think they would have tried to help him even more at that point. But it certainly has a great deal of impact as an ending.
4. Who gave the three best performances--in order--the film?
Kingsley
DiCaprio
Earl-Haley
5. What was your favorite scene in the film?
The first dream sequence in their apartment.
6. What's your favorite line or conversation from the film?
The first conversation with Max Von Sydow's character. Like all other conversations in the movie, it has a great difference to it once you know the twist.
7. How did Leo do?
Very well, actually. Sometimes he seems a little too...slight...for some roles. He was in danger of that a few times here, but I thought he was very effective.
8. At what point did you first suspect there was a twist? Did you guess the twist before it became obvious?
Here's the truth: I don't intend to brag here, and I absolutely DO NOT try to even figure out a twist if I know there is one, but I figured this twist out in the first 3 minutes of the film. Something about the combination of starting out on that boat, and the way he talked about his missing cigarettes just gave me this feeling like he was *spoiler* actually a patient at the island. Again, I seriously do not like to try to figure out twists, I like to let them hit me, like in all the M Night movies. But this one had a familiarity to it. However, I didn't see the VERY end of the film coming. That was a surprise to me.
9. Who would have done a better job in Leo's role and as director in your mind--in anyone?
Can't think of many, as Leo fits what Scorsese was trying to do, IMO.
10. What other questions does the film raise?
I'll tell you the question it raises: is there a better director of film alive today than Martin Scorsese? My answer: probably not.
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M$
Don't have much time to respond but I'll agree with Ion's answer. In first watching the scene, I noticed evidence of a greenscreen effect right away and it was bugging me from the beginning. In this day and age where this kind of CGI can be so convincing, and watching the entire movie and seeing the twist, I have to believe that part of this look was on purpose. Visually, seeing such a visual "hoax" puts me at unease, and if it is on purpose it is not only a smart way of using the drawbacks of CGI to enhance a feeling of unease, but also sets the tone from the get-go that the visual motif might be peppered throughout with "smokescreens." I would have to go back for a second viewing to get more examples, maybe other people can respond? Obviously there are the juxtaposed colors and saturation going on between Leo's reality, the dreams, and the real world. Anything people remember about camera angles/movement, cutting style, and/or the editing style? Also any specific film homages anybody saw?
Mike Flash
Mike Flash
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M$
In retrospect, the obvious use of green screen from the very opening seems to hint to the audience that what we are seeing is an entirely contrived drama set up by the doctors on the island to help Laeddis heal.
In the debate over whether he was actually sane or insane, the green screen, to me, is Scorsese's way of throwing his two cents in and saying that, yes, he was insane.
In the debate over whether he was actually sane or insane, the green screen, to me, is Scorsese's way of throwing his two cents in and saying that, yes, he was insane.
You can leave an optional "tip" with Mahalo's virtual currency, Mahalo Dollars. If you are asking a difficult question that might require some research, or if you'd like a wide variety of feedback, a higher tip often leads to more answers to your question.
M$
1. What did you think of the green-screen boat ride at the start? Why did Martin Scorcesse choose to do this in your mind?
The beginning boat right, to me was obviously to give the concept of him coming to the Island. Really, due to the ending, there was no way to start it without him being on the boat, or on the island. It also was the first time the 'twist' become obvious.
2. What did the film do really well in your mind?
The film was really able to grab you and keep you focused on the screen during it. You're mind keeps running as it's going through, trying to piece together all the elements. The cigarettes he's 'sure' he had in his pockets the inmate pretending to pick up a glass, the flashes of his other life... it all pulls you in and makes you want to know how it will end up.
3. What is the single weakest element of the film?
I think the overall 'twist' was probably the weakest element. As soon as I saw this, I just murmured 'weak' not only because I believe you can easily see it coming, but because the ending has been seen before in the 2003 flick Identity.
4. Who gave the three best performances--in order--the film?
Leonardo Dicaprio for me easy gave the best performance. I think without his strength in the role, it could never have played off so well.
Ben Kingsley I think second, as he gave a sense of believability to it.
To be honest, I can't really think of a third. Nobody played a bad part? But nobody stood out for me.
5. What was your favorite scene in the film?
The scene where Leonardo first see's exactly what happened, the true story and it's as shocked as you would expect it to be... when he goes into the water, holding his three kids and screams out of nothing but pain and agony, you feel it to me.
6. What's your favorite line or conversation from the film?
Right at the end, when Leo walks out of the hospital doors and you believe he's cured, however you find out quickly, he is not.
7. How did Leo do?
I think Dicaprio is an underrated actor, there's so much hate that goes at him, and he's been type casted in the 'titanic' role however, through it, all the twists and changes, I believed him. And in the end, that's the hope of all actors.
8. At what point did you first suspect there was a twist? Did you guess the twist before it became obvious?
As I said earlier, as soon as 'his was sure he had his cigarettes right here' it was screamed at you that he's not in his right mind. As the movie progressed it because more obvious that the situation he was in was being crafted in his own mind in a lot of ways... I felt a bit cheated because I think they made it very obvious what was coming there was little subtlety to it.
9. Who would have done a better job in Leo's role and as director in your mind--in anyone?
Nobody I can think of. The overall look and tone of the film was great.
10. What other questions does the film raise?
For me, I’m starting to wonder if films are all going to begin repeating themselves with all the numerous remakes that are coming out, when I see an original film I hope to see something new... but when the film thing that comes to mind at the end, that this film's ending is almost identical to another, it's disappointing.
I think the primary showing of the film is the Leo is an actor who will be around for a long time. As the current batch of 'name actors' move out to pasture (the brad pits, Julia Roberts etc) people like Leo will become the top tier level.
I also have to admit, to hear how the mentally ill were dealt with in olden time, if true, is rather barbaric and kind of shocking to hear it.
The beginning boat right, to me was obviously to give the concept of him coming to the Island. Really, due to the ending, there was no way to start it without him being on the boat, or on the island. It also was the first time the 'twist' become obvious.
2. What did the film do really well in your mind?
The film was really able to grab you and keep you focused on the screen during it. You're mind keeps running as it's going through, trying to piece together all the elements. The cigarettes he's 'sure' he had in his pockets the inmate pretending to pick up a glass, the flashes of his other life... it all pulls you in and makes you want to know how it will end up.
3. What is the single weakest element of the film?
I think the overall 'twist' was probably the weakest element. As soon as I saw this, I just murmured 'weak' not only because I believe you can easily see it coming, but because the ending has been seen before in the 2003 flick Identity.
4. Who gave the three best performances--in order--the film?
Leonardo Dicaprio for me easy gave the best performance. I think without his strength in the role, it could never have played off so well.
Ben Kingsley I think second, as he gave a sense of believability to it.
To be honest, I can't really think of a third. Nobody played a bad part? But nobody stood out for me.
5. What was your favorite scene in the film?
The scene where Leonardo first see's exactly what happened, the true story and it's as shocked as you would expect it to be... when he goes into the water, holding his three kids and screams out of nothing but pain and agony, you feel it to me.
6. What's your favorite line or conversation from the film?
Right at the end, when Leo walks out of the hospital doors and you believe he's cured, however you find out quickly, he is not.
7. How did Leo do?
I think Dicaprio is an underrated actor, there's so much hate that goes at him, and he's been type casted in the 'titanic' role however, through it, all the twists and changes, I believed him. And in the end, that's the hope of all actors.
8. At what point did you first suspect there was a twist? Did you guess the twist before it became obvious?
As I said earlier, as soon as 'his was sure he had his cigarettes right here' it was screamed at you that he's not in his right mind. As the movie progressed it because more obvious that the situation he was in was being crafted in his own mind in a lot of ways... I felt a bit cheated because I think they made it very obvious what was coming there was little subtlety to it.
9. Who would have done a better job in Leo's role and as director in your mind--in anyone?
Nobody I can think of. The overall look and tone of the film was great.
10. What other questions does the film raise?
For me, I’m starting to wonder if films are all going to begin repeating themselves with all the numerous remakes that are coming out, when I see an original film I hope to see something new... but when the film thing that comes to mind at the end, that this film's ending is almost identical to another, it's disappointing.
I think the primary showing of the film is the Leo is an actor who will be around for a long time. As the current batch of 'name actors' move out to pasture (the brad pits, Julia Roberts etc) people like Leo will become the top tier level.
I also have to admit, to hear how the mentally ill were dealt with in olden time, if true, is rather barbaric and kind of shocking to hear it.
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M$
My comments will not deal with each question that you asked; I would like to comment in general. I just returned from seeing the film, and I really liked it especially since one cannot tell what is true and what is false. I have not read the novel, so I come to the film a bit differently than "Best Answer" and some others. I approach the film as an artistic work and vision of Martin Scorsese. One, I think it is about film and film making. We, as viewers, are in a position similar to Teddy. What is real and what isn't real; what do we choose to accept and what do we choose to reject. As viewers of film, we willingly suspend our disbelief for our time in the darkened movie theatre and accept what we see as reality. How good are the director and the actors? Can they pull us into the story so that we believe it is real? As John Irving says in The World According to Garp, the job of the novelist, in this case the director and actors, is to craft the story so well that the audience accepts it as real even if it isn't. which the film isn't. So on one level, I believe this film is about film, metacinema. Second, since I have not read the novel, I come with no preconceived ideas. Is Teddy really a patient or is he really a marshall? It seems to me that Scorsese clearly wants us to see Teddy as a patient from very early on. In fact, he wants us to see this too much what with the pointed comments of the doctor throughout. I was pretty sure that Teddy was the patient as soon as I saw the first flashback to the bodies at Dachau. I think we can see this movie in a number of ways, only one of which is that Teddy is really the patient. However, that being said, I also believe it lends itself to a different interpretation: Teddy is not the patient, Rachael, the doctor in the cave, is real, and Teddy is the rat in the maze. He will never be allowed off Shutter Island no matter what. He will be allowed to live if he accepts the scenario that his wife murdered his children, assuming he did have children, and live out his life on the island. On the other hand, he can refuse to accept that version of reality in which case he must be lobotomized so as not to cause further disruption at the mental institution. One can make a case for either scenario. I like the way DeCaprio played the part and quite frankly cannot see anyone else in the part, the mark of an excellent actor (I am not a DeDaprio fan, by the way, at least I wasn't until this film). Yes, Clint Eastwood could have directed the film, but it would have been a different film, not the one we have. Now, if one is talking about making the novel into a film then, of course, Eastwood would be ideally suited. But I also adhere to the auteur theory, and see the film as a vision of Scorsese's not only about film and film making, but about the way each of us looks at the world. We all make up our own realities, just as a director and actors do, all the time in order to cope with the world and our places in it. Is Kingsley really a good guy? I don't know; only if you accept that Teddy really is crazy. But suppose he is being programmed to believe he had children and his wife murdered them, then you could see some of the flashbacks as his subsuming the "doctors' " story into his own. In some scenes his wife is the fake Rachael and the children have blood all over them; then later he "gets the story right" by inserting his wife into the story with the drownings. As Teddy is talking with the "doctors," he is all in white, but when he finally accepts his "back story," he is in bed with a nurse beside him with a tray with a syringe and other items on it. What's reality? I think this is the question that Scorsese is asking and forcing the audience to ask themselves. DeCaprio was great. Max von Sydow, unfortunately, did Max von Sydow. The part was hardly a stretch; see him in his younger days to see what an excellent actor he can be. Kingsley, as always, was wonderful: is he the evil scientist or the concerned doctor? If the concerned doctor, why take Teddy to the lighthouse? Ruffalo was very good. All in all, this film was really great because it allows so many views.
Thanks for the opportunity to voice my opinion.