Blade Runner
“What was that dream from last night?” Such is the typical question brought on by the new morning consciousness. Whether it be in search of meaning or sheer remembrance, this question proves the mystifying and often inexplicable nature of dreams. Fortunately, the power of cinema has been exploring this question for some time. Throughout the development of film multitudes of characters have been influenced by diegetic nightmares or visions. How and why these are achieved provide assessors with an array of shared attributes which can be individually examined. Exposure, deviation, trickery, warning, reality, and wisdom are all essential characteristics of dreams which film has learned to adopt, apply, and represent. As a result, cinematic dream sequences have developed many observable properties that are important to recognize and understand.
The first and perhaps most common characteristic of the dream sequence is its ability to expose or reveal something about the character. In Pee-Wee’s Big Adventure (1985) a specific nightmare features the maltreatment of Pee-Wee’s beloved bicycle by a group of clowns. The scene progresses with such mischievous terror that Pee-Wee’s fear of losing his bike is blatantly exposed. The same applies to Vertigo (1958). What else could revive Ferguson from his psychedelic dream other than its acrophobic conclusion? But the exposure need not always reveal a fear of the character. Fast Times at Ridgemont High (1982), for example, features a number of “too-good-to-be-true” scenarios that illustrate the fantasies of the characters. Even more insightful are those clever dream sequences that give small clues to attentive spectators. In Blade Runner (1982) as Rick Deckard sits at the piano and taps a somber tune, he slowly drifts into a brief dream: a white unicorn gallops through the forest. Though simple, this vision serves as a clue to an incredible realization later in the film.
Inception. Courtesy of cinemasquid
Another extremely common attribute of the dream sequence is its divergence from the norm. An expressive way to achieve this is through careful injection of surrealism. Alfred Hitchcock teamed with Salvador Dali in Spellbound (1945) to create the bizarre world of John Ballantyne’s dreams. In it a constellation of stars melds with a multitude of eyes which then form into a gambling room where faceless proprietors toss around bent wheels. Indeed, such bizarre occurrences easily distinguish themselves from reality. Structuring a sequence in this manner, therefore, allows filmmakers license to inject unusual style and form into their films. Divergence, however, can also be achieved through special effects. In both 8 ½ (1963) and Brazil (1985) the dreamer defies gravity and, thanks to special effects, is able to soar through the clouds.For even more technologically advanced effects, consider the dream world of Inception (2010), where the dreamer is able to warp the geography of entire cities. Each of these examples, thus, exercises the use of special effects to deviate from reality.
The Fly. Courtesy of cinemasquid
There are, however, those dream sequences which filmmakers deliberately manipulate to deceive viewers into accepting them as truth. In The Fly (1986), just after learning of Veronica’s pregnancy, viewers suddenly discover her at some type of clinic (either for an abortion or labor). She then gives birth to a pupa! Despite its abnormality, this scene does not deviate from the norm. The entire film centers on a scientist who is victimized by a tragic experiment in which a fly is mistakenly involved. As a result, the scientist begins to mutate into a six-feet fly, but not before impregnating Veronica. Viewers, therefore, have been guided through a story world in which they are primed to accept such outlandish events. It is only when Veronica suddenly awakens in horror from her nightmare that viewers realize the dream.
There is also the foreshadowing nature of dream sequences. As if some type of specific message, dreams in movies can sometimes warn characters and/or audiences. This warning most often references some type of forthcoming doom. For this reason it sometimes includes the death of the character in the dream. Sarah Conner’s dream sequence in Terminator 2: Judgment Day (1991) begins peacefully, as innocent children indulge in joyous activities on a playground. She sees the oblivious families and attempts to warn them of the danger approaching. The dream then takes on a nightmarish quality when a large explosion occurs, expelling a wave of fire which quickly consumes the previously peaceful environment. This holocaustic blast references the inevitable destructive future. Sarah then wakes after she is devoured by flames in her nightmare. This is quite common among dream sequences. Most often characters will awaken once they are killed in the dream (unless, of course, Freddy Krueger is involved).
Waking from a dream sequence is also an examinable feature. This is quite often achieved by exposing the dreamer to some element of his/her reality. This can be seen in Dumb and Dumber (1994). Lloyd, while driving on a dark road, drifts into a dream wherein he engages in a number of too-good-to-be-true scenarios with his love interest, Mary Swanson. In the last of these scenarios Mary unclothes herself and, to Lloyd’s amazement, reveals a pair of vehicle headlights. This causes Lloyd to opportunely wake from his dream and discover that those headlights actually belong to an eighteen-wheeler which nearly collides with his car. Once an element of reality is introduced into the dream the character is usually forced to awaken and confront that aspect of reality.
Terminator 2
A final common characteristic of dream sequences to be discussed involves their intellectual nature. This represents those specific dreams whose primary purpose is to teach or learn, begging for knowledge and seeking wisdom (symbolism is often key). Ingmar Bergman’s Wild Strawberries (1957) is a wonderful illustration. Viewers watch as Professor Isak drifts in and out of a number of dreams, each one allowing him to reflect on his past and exposing him to an aspect of himself in need of attention. The reflective and insightful nature of his dreams is able to teach both him and viewers about life, love, and acceptance. This type of dream sequence is a beautiful work of cinema. It transcends surface appearance and delves into the soul, endeavoring to interpret what all dreamers hope to discover: meaning.
Dream sequences, therefore, are quite complex instruments of cinema. They contain many different qualities, each of which providing incredible potential to influence the story and/or character. While the diversity among dream sequence characteristics is sizable, it is still important to understand the differences and functions of each. They are each able to provide a distinct service to the film. So again, “what was that dream from last night?” If not resembling one of these attributes, then it probably isn’t worth remembering.
Author Biography
Levi Vasquez is a student at the University of North Carolina Wilmington. He is a member of both the Phi Theta Kappa Honor Society and the Tau Sigma National Honor Society, for which he served on the philanthropy committee in 2012. As a passionate film student, he is the writer of the award-winning screenplay The Exit, which is currently in production and expected to enter the festival circuit summer 2013
