By Thomas H Cullen (UK)


A problem should only exist, because it’s been chosen to exist. The freedom from problem isn’t a choice, and a lack of freedom is the only means to letting freedom work. The lack of a problem is inevitable, and the presence of a problem is the inevitable way to let the lack of a problem happen.

Happy Death Day is a film which, to some degree or other, runs along these lines. It’s worth bearing note, as it happens, that the apparent symbolism of Happy Death Day is reminiscent of Wonder Woman – peace is inevitable, but it can only be so on the basis that tyranny is real.

As of right now, the sense is that Happy Death Day is the deconstruction of Wonder Woman – not philosophical opposite, but just analyst – which suggests that Happy Death Day is the more intellectual movie.

Inevitability implies eternity. Ergo eternity is dependent, ergo problem. Problem is then free to encompass the meaning that eternity is dependent, in turn meaning that Happy Death Day’s actual depth extends to the scenario in which the failure of eternity is self-generative. Eternity’s inability to speak for itself is a weakness which is self-created. The only means of expression has to experience censorship, which is the obvious problem of the idea of weakness not being available.

How can the “only” outlet of communication happen, if that same outlet needs an alternative outlet which isn’t available? The alternative outlet has to precede the original outlet, and the alternative can’t be eternal. The alternative is finite, and is designed to inflict damage.

A sequence of destruction, which has to precede eternity, is created for the sake of supporting eternity. Eternity is then a force which has an origin, but isn’t created so as to support that origin. Origin is support, and support is contrast. Creation is not support, but isn’t contrast either.

Happy Death Day, it seems, is a process whereby visual symmetry is logical as a result of not being a point of origin. Visual symmetry isn’t a constructive force, instead being defined as a state of agitation and nervousness. The alternative, visual contrast, is therefore a state of relaxation and always precedes nervousness. The logic to this is that eternity happens by being a state of nervousness, and its creator is the state of assumption.

The process mirrors Happy Death Day. Theresa’s story mirrors what’s been laid out, at least it does so in a general way. Theresa comes to have her “inevitable” epiphany, and the epiphany manifests in encounters that are nervous. The opposites to Theresa – her father, Carter Davis and Lori Spengler – are all conveniently symmetrical to the emotional state of Theresa (of course, I’m technically overlooking aspects of the plot, but I’m doing so in the sincere belief that the overall symbolism in question is independent of how the entire plot plays out).

Irrespective of the plot, and the minutiae of its characters, the idea of visual symmetry having to be subsequent is a sort of philosophical concern which would be a privileged possession for any story or movie. It wouldn’t matter what the genre and plot was: time’s relationship to visual symmetry is eternally powerful.

Any visual is symmetry, and any symmetry is the inevitability of violence; the movie Happy Death Day can then be construed as an answer to the literal means of creating the one and only type of visual symmetry that can last forever. All the images, and all the events that happen throughout Happy Death Day are part of the one and only visual symmetry, which makes the story one of self-sacrifice that’s universal. All the images, and all the visual aspects of Happy Death Day are forces that are committing self-sacrifice.

In Happy Death Day, story progression doesn’t exist; all that exists is the perpetual story of rearrangement between every type of visual that exists in the film.

With respect to the actress, Jessica Rothe, who played Theresa Gelbman: your character Theresa, and your movie Happy Death Day is incomprehensibly magnificent, and is the unspeakable beauty of life’s mysterious answer to itself. Reality’s source, or the origin of reality has never been followed up by anything, and it’s the movie Happy Death Day that deserves to be known as a proxy for the origin of reality, and the actual truth as to how it exists and why

Rating: 5/5



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