In the first of three posts, Meg Barker examines how romance is explored in the movie Ruby Sparks.
Recently I got round to watching last year's movie Ruby Sparks on DVD. I'd been looking forward to watching this film for some time because it is a meditation on what would happen if we could create our perfect partner. The film was everything I'd hoped for. However, when I gushed about it on Facebook, several people said they had felt let down by the ending. Here I want to present my take on the film, and to explain why I think the ending needed to be the way it was.
In the film an isolated writer (Calvin Weir-Fields) has writer's block, having published one highly successful book when he was pretty young. His therapist encourages him to write a brief account of a positive encounter with another person. He invents a scenario where he meets his perfect girlfriend in the park. Soon he is writing more and more about her because he enjoys imagining her so much. He describes her to his therapist:
Spoiler alert: Don't read on if you want to watch the movie without knowing what happens.
During the time that he is writing about Ruby, Calvin starts to find bits of women's clothing around his house and things in his bathroom cabinet that don't belong to him. Then one day he returns home to find that Ruby exists and is living with him. She believes that everything from their first encounter to her moving in with him has actually happened.
After initial confusion Calvin is delighted and throws himself into a real relationship with Ruby. The two enjoy a perfect honeymoon period captured in a movie montage of dancing, beaches and running around town. But things start to sour when Calvin introduces Ruby to his family whom she loves whilst he finds them problematic. He begins to become grumpy with the very things that he created Ruby to be.
Calvin's brother, Harry, has suggested that Calvin should continue writing about Ruby in order to make her into whatever he wants. However, even when she is getting on his nerves Calvin refuses to do this. Then Ruby begins to pull away for some independence: wanting to start a job, hanging out with her friends, and deciding to spend one night a week back at her own flat to give them some space. Calvin panics and returns to his typewriter. He writes that Ruby was sad whenever she wasn't with Calvin. Ruby then becomes needy and tearful, unable to be parted from Calvin for a moment. Calvin writes that Ruby was effervescently happy all of the time, in order to try to keep her with him but not so demanding. This also backfires because constant happiness is hard to take, and because it is clear that Ruby isn't choosing to be with Calvin at this point, so he writes her back to normal.
The couple return to bickering and fighting when Ruby doesn't do what Calvin wants her to do. There is also the sense that the constant changes have taken a toll on Ruby emotionally. At a party she is left alone and flirts with Calvin's agent. At this point Calvin explodes and tells her what she is, forcing her to do things by typing them out as she stands in front of him. Finally he stops and she runs to her room. He is struck by the horror of what he has become and leaves all of the pages that he has ever written about Ruby outside her room with a final line saying that Ruby is no longer bound by the past and that as she leaves the house she is set free.
The following morning Ruby has disappeared and Calvin is left alone to mourn. Eventually he pulls himself together and buys a computer instead of a typewriter. This was a relief to me because the main problem that I had with the film was understanding how somebody could write a perfect first draft into a typewriter! Calvin writes the story of his time with Ruby, anonymised, and it is a great success.
At the end of the film – which my Facebook friends found so problematic – Calvin bumps into Ruby in the park. She is reading his new book but clearly she has forgotten everything that happened due to being set free. They have some banter similar to the first time that they met and it seems that Calvin has been given a second chance at the relationship, but this time having learnt his lessons in love.
There are probably many different readings of this film, and perhaps the way in which you read it affects how you view the ending. Two readings particularly struck me: we could understand the film as an exploration of gender in relationships (and wider society), and/or we could understand it as an examination of how people relate to each other more broadly. We don't have to discard one reading in order to accept the other as both are possible through the same situations, and indeed the way we relate to each other is generally infused with gender. However, the latter reading perhaps invites a more sympathetic understanding of Calvin: and one in which we might be more likely to wish him the redemption he receives in the final scene.
To be continued...
Meg Barker 23 July 2013
Meg Barker is an Open University lecturer teaching mainly on counselling modules, and is also a therapist specialising in relationships. Find her other blogs here.
The views expressed in this post, as in all posts on Society Matters, are the views of the author, not The Open University.
Cartoon by Catherine Pain