SIlver Case is a feature film produced and directed by Award winning Italian filmmaker Christian FIlippella @ all rights reserved. Way of the samurai 2 best sword.

Psychologists and other mental health professionals are touchy about how they are depicted in movies. So are doctors, police officers, and lawyers.

Given the widespread influence of movies, any profession is naturally going to be invested in whether its members are portrayed positively and accurately. After all, misrepresentations could potentially lead to public relations problems. In the case of, it might mean that someone will not seek help because they have developed a negative perception of.

Or in the case of mental disorder, inaccurate depictions could increase the stigmatization of various kinds of difficulties and diagnoses. The Best Picture Oscar-nominated Silver Linings Playbook is an excellent example of a film that is at once fairly accurate about a number of elements related to mental health, misleading about other elements, and yet ultimately true to its own artistic vision, benefiting the audience in the end.In terms of accuracy, the thing that is most impressive about Silver Linings Playbook is the portrayal of a family system at the breaking point.

The action begins when a son, Pat (Bradley Cooper) is released from a hospital after a court-ordered eight-month commitment because of a brutal assault on his wife’s lover. (Robert DeNiro) is a pathologically superstitious father who is obsessed with the Philadelphia Eagles and gambling, and has some issues of his own. Dolores (Jacki Weaver) is a passive mother who nervously watches over the powder keg of family dynamics, hoping she can keep it from exploding with a forced smile and distracting food. The blow-up is inevitable, and one scene is particularly well done and realistic—after Dolores is accidentally elbowed by Pat, father, and son end up in a physical altercation while waking up the entire neighborhood.

On the other hand, judged from the standards of realism in regard to psychiatric diagnosis and mental health treatment, the film is not perfect. Pat is labeled as having; this complicated diagnosis is controversial and confusing even among mental health professionals, and in Pat, it appears to manifest itself primarily in aggressive and violent outbursts. Similarly, Tiffany (Jennifer Lawrence), Pat’s love interest, has her compulsive and self-destructive promiscuity explained too simplistically (a compensation for the she feels for inadvertently causing the death of her husband because of a declining interest in ). Also, the film wraps up the pieces much too neatly, suggesting that Pat and Tiffany’s successful performance in a dance contest and their passionate love for each other are enough to diffuse all of the simmering psychological and interpersonal tensions. Finally, the portrayal of the therapist, Dr. Patel (Anupam Kher) is problematic. He intentionally provokes Pat by playing a song that reminds him of a event, and later in the film, he completely abandons his professional role in favor of joining with Pat as a maniacal Eagles fan.

At this point in the analysis, I am guessing that many mental health professionals are nodding their head in agreement while many movie fans are thinking—“Come on. It’s just a movie.” In fact, it is “just” a romantic comedy that follows the narrative formula of such films almost exactly: two people meet and are attracted to each other; however, they have personal issues that prevent them from immediately starting a healthy relationship; through a series of poor decisions and misunderstandings, they learn and mature; eventually, they mutually declare their love for each other and live happily ever after. One could criticize the conclusions of romantic comedies as simplistic, sending the unrealistic message that all problems are solved with a kiss.

I’ve done it myself, in a grumpier mood. With Valentine’s Day approaching and confronted with a compelling movie like Silver Linings Playbook, I am less inclined to question the redeeming power of love. To criticize hope in any guise as unrealistic perhaps misunderstands the nature of hope. Admittedly, the object of hope is always about the future, and the future is always uncertain. But the feeling of hope can be sustaining in the present, and the troubled characters in Silver Linings Playbook offer an inclusive vision of that feeling that is that much more universal and powerful. I'm probably 2 years late with this comment but here goes:Tiffany's promiscuity isn't 'explained' by her guilt for her decreased libido which somehow she rationalizes caused her husband's death. It is due to the fact that he wanted another kind of life (he wanted kids), she didn't (she said she had enough of a hard time as things were).I think you're the one who's simplifying things here.

It's about two people who entered a marriage without realizing they want fundamentally different things from it.You're doing it again with the conclusion that their dance routine has somehow fixed their problems or shows that they're in the clear.It didn't see it that way at all. Their dance was chaotic (like they are), full of mistakes (like they are), and ultimately made them stay in close proximity for a while.Which is conclusion I drew: they're giving it a shot but it's not guaranteed it'll work. They're still the same messy, troubled people who are trying to fix themselves. Except they think they have a better chance if they're doing it together.

The best thing about David O. Russell’s new movie is also the worst: it may be the year’s most artificial movie, more manifestly an impossible contrivance than the flying vehicles of “The Dark Knight Rises” or Iron Man’s space-leap in “The Avengers.” A more apt title would be “Syd Field Playbook,” named for the screenwriting teacher who delivers, in his book “,” this advice: “First, create the context of character. Then fill the context with content. First—define the NEED of your character. What does your character want to achieve, or get, during the course of your screenplay?”. If you take real people and write about them you cannot give them other parents than they have (they are made by their parents and what happens to them) you cannot make them do anything they would not do.

Mario party 7 emulator. You can take you or me or Zelda or Pauline or Hadley or Sara or Gerald but you have to keep them the same and you can only make them do what they would do. You can’t make one be another. Invention is the finest thing but you cannot invent anything that would not actually happen. Goddamn it you took liberties with peoples’ pasts and futures that produced not people but damned marvellously faked case histories. “Silver Linings Playbook” is filled with faked case histories, which is apt, given that its protagonist’s story is launched as a case history: Pat Solitano (Bradley Cooper), a high-school history teacher, is released from a mental hospital—after beating his wife’s lover nearly to death—to the care of his parents (Robert De Niro and Jacki Weaver). While seeking to win back his wife, he begins a relationship with Tiffany (Jennifer Lawrence), a young widow who is also under medical care for mental illness.

She promises to help him get back with his wife if he’ll take part in a dance competition with her. Meanwhile, Pat’s father, Pat Sr.—a football fanatic with anger-management issues and a compulsive gambler working as a bookie—recruits his son as a good-luck charm for their beloved Philadelphia Eagles but also places a heavy bet on Pat and Tiffany’s results in the dance competition.In other words, the plot is utterly ridiculous, the characters are created merely to fulfill its requirements, and whatever charm and integrity the movie possesses issues from the actors, who do their damnedest to lend their scriptbots flesh and soul.

The Hemingway quote is again apt, because, early on in the film—when Pat reads “A Farewell to Arms,” a book that’s on his estranged wife’s classroom curriculum—he throws it out the window, ranting about the unnecessary heartbreak of the ending. With it, the character, and Russell, are throwing all Hemingway out the window, because, for Hemingway, the irresistible unity of character brings about its own heartbreak. The premise of the movie, of course, is the possibility of change, of bringing about happy endings through the force of will. If there were substance to the movie, it would respond to the question of whether character is destiny, or whether a person can change and still be himself, be true to himself—or whether, in fact, a current iteration of a person, broken and full of blame, may in fact be a false one, with the true and better self waiting to emerge from better circumstances.Would that the movie took on such questions. Rather, it starts out with its own soothing answers to them, and, for all the loud and roiling action, leaves no doubt from the beginning about where it’s going; the deterministic world of the movie is script-settled and it’s all thumbs up.“Silver Linings Playbook” is the second movie of the season to wear its marketing so blatantly on its sleeve, to integrate its commercial positioning so forthrightly into the story.

(The other is “Skyfall.”) First, the story challenges the medical “establishment” and the efficacy of medical science in bringing about results: Pat doesn’t take his medication because he doesn’t like how it makes him feel—and because it makes him gain weight, whereas he wants to be svelte and buff in order to win his wife back. His mental health depends (and guess where this is going in the story) on his ability to control his behavior through force of will and the ability to make emotional connections based on empathetic and mature choices (as if mental illness itself might not be an insurmountable obstacle to those connections and choices). The movie will be a hit with those who think that hyperactivity is just a failure of discipline and depression merely a bad attitude (to the tune of “,” with its reference to “Jonah and the whale, Noah and the ark”). Without a word about religion in the script, “Silver Linings Playbook” advocates a faith-based view of mental illness and, overall, of emotional redemption. The plot, after all, turns on gambling—a, in which two results are connected: the outcome of a football game (over which, of course, the bettors have no influence) and of a dance competition (which depends on the exertions of the competitors). Gambling and faith have long been connected, from through “,” and, in “Silver Linings Playbook,” the Philadelphia Eagles are divine, the belief in their power is an article of faith, and superstition plays the role of ritual in their service. (Yes, there’s a moment when that superstition is confronted by reason—but I leave it to viewers to see the results of that only apparent recalibration.)What’s more, the very fact of the mental institution, embodied by the doctors’ decisions (shown as misguided, even cruel) about patients’ release, is presented as an unwarranted collective authority.

(It’s the second anti-institution movie of the season, the other being “Cloud Atlas,” with its sadistic old-age home.) “Silver Linings Playbook” presents a personal, faith-and-family-centered approach to holding mental illness in abeyance. Whether the notion is accurate or not, it is, very much, a consistent and coherent point of view: under the guise of a free-spirited and generous look at quirky behavior, it embraces and endorses a populist conservative doctrine.On the other hand, viewers who find themselves sympathetic to its doctrines are unlikely to be any more put off by the story’s artifice than they are by that of any C.G.I. The Hemingway notion may be out of fashion, but it was responsible for the great artistic success of Russell’s 2010 movie, “,” which anchored even its most antic moments in the loam of life, with inner depths, wider connections, and far-reaching consequences. In “Silver Linings Playbook,” Russell makes a movie of overt symbolism, such as should be no problem for audiences accustomed, as we are, to cinematic artifice. His bold inside-out unfolding of a framework instead of a story would have been even more audacious if he hadn’t sought to camouflage it under sentimental performances. They’re loud but still conventional.