I enjoyed reading this book. I've been enraptured by Eternal Sunshine ever since connecting the dots between the movie's title and the Alexander Pope poem it was derived from, "Eloisa to Abelard." I held off on watching the movie until finishing Maia's book and still have not seen it at the time of this review (I plan to soon though!).
The content of the book is a healthy blend of Maia detailing the scripting, making, and marketing of Eternal Sunshine and interjecting her personal experience with relationships and moving on. Maia begins by delving into the headspace of director Michel Gondry, writer Charlie Kaufman, and director of photography Ellen Kuras as well as the main actors, Jim Carrey and Kate Winslet. My favorite detail is Gondry's insistence to shoot everything "as is" with on-site lighting and without digital effects. This led to Jim Carrey appearing simultaneously as present-Joel and memory-Joel in one scene, and Carrey had to run back and forth behind the handheld camera, changing out hats and jackets to facilitate the scene.
Grief and its reconciliation is a pervasive topic of the book. From Gondry's own separation with Björk (BK) to Maia's own breakup, romantic grief brings a special type of pain that might be even more powerful than the grief of losing a loved one. Gondry described moments post-breakup in which he cried so much he had to stop walking since he couldn't see the pavement. These have special tie-ins to Eternal Sunshine because our first instinct is to desire an escape from/removal of our pain rather than processing our grief (an objectively more difficult yet necessary exercise). But, somehow, the procedure of memory erasure creates more turmoil than was present in the first place. Joel experiences anguish as he watches his memories dissolve, even crying out "No, no, not that one. Please—just let me keep that one," as a precious memory of Clementine begins to fade.
Maia also explores the cultural significance of Eternal Sunshine and how it reinforces and defies expectations of the audience. The main takeaway is that it is a unique movie that appears to the audience like a hologram. Depending on where you stand, you will see a different image each time. It is a happy movie. It is a sad movie. It is a romantic movie. It is all of these things and more.
Why I am leaving four stars instead of five:
There are infrequent typos throughout the book; enough to be noticeable but not to the extent that would be detrimental to a final publish. Examples include inconsistent italicization of movie titles (Before Sunset p. 99), mise-en-scène being written in plain text, inside of quotes, or italicized at different parts of the book, or an extra space in between a letter and a comma (p. 92). Again, nothing big.
Maia's personal narrative also confuses me. While she discusses the details of a five-year relationship as it relates to the idea of grief and themes of Eternal Sunshine, the book finishes with, "But the light I shine for him has not gone out. And I continue to hope that one day he will see it and re-enter my life, however that may look." From the outside, it appears objectively best if Maia and her ex do not see each other, yet they've remained in contact, gone out together on Boxing Day, and still interact within the same friend group. In the same breath, Maia mentions intense jealousy from seeing his social media posts with a new girlfriend and saying to him post-breakup that, "I don't know who you are," in regards to never penetrating his inner life and personal burdens.
It is not my place to say what they should do, but I was surprised with Maia's conclusion after discussing Eternal Sunshine in such detail. Rather than taking the warning of wanting to completely purge your memories of someone or the acceptable risks of loving someone as his or her fullest self, it appears that casting herself as one who is soul-bonded to her ex is most preferable.