When you hear the phrase Classic Hollywood Cinema, Eternal Sunshine of the Spotless Mind may not be the first thing that comes to mind.

You probably think of something that looks more like this [Roman Holiday (1954)]. A film starring him [Charlie Chaplin], or her [Aubrey Hepburn], but the classic Hollywood cinema is merely a set of conventions that define one style of film narrative.

It usually involves:

• A goal oriented protagonist
• An antagonist that’s keeping them from their goal
• Characters that act as causal agents for the plot
• And, finally, closure

It may not seem like Eternal Sunshine of the Spotless Mind plays by anyone’s rules other than its own. It deviates from the traditional linear plot structure of the Classic Hollywood Cinema opting instead for something more stylized. However, the handling of its plot structure in relation to its characters help push the plot forward in a more striking and meaningful way.

From the outset of the film, we find ourselves on valentine’s day moments later we are looking at the day before and throughout the film we jump around moments in Joel’s relationship with Clementine.

But let’s take a closer look at the way the film’s plot is structured.

We’ve already seen how the film starts.

We are restricted to Joel’s point of view. By starting this way we are able to learn about Joel, and the film’s protagonist is established.

After the film’s opening, we are met with a completely different narrative approach. We are given unrestricted story knowledge as the plot takes on a parallel plot structure.

One plot revolves around Lacuna and its employees as they attempt to erase Joel’s memories. The other focuses on Joel as he relives those memories.

By separating these two plots the film is able to present us its antagonist — Lacuna.

The convergence of the two plot lines gives the film’s opening context and the film’s conclusion emotional weight. But we’ll get back to that.

Closure.

Upon first viewing it may seem as though the film leaves a lot up in the air.

You may argue that their new relationship is rocky because they already know where it will lead. But if we recall their conversation in the hallway, this topic is brought up. They both shirk this off, and Joel’s initial conflict is resolved. He gets to pursue a new relationship with Clementine.

And in the film’s final moments we see them running on the beach.

This final shot is repeated three times, the screen slowly fading to white after each pass. We can see from Clementine’s hair that this was something from their past, and the fading to white is reminiscent of something being erased. A slate being wiped clean. Their past has no bearing on their future, and they are the masters of their own destiny.

Now imagine if the film played out linearly: it would have felt more contrived and generic, something that we’ve already seen time and time again. It’s only through clever manipulation of the Classic Hollywood Cinema that Charlie Kaufman and Michel Gondry are able to produce for us a film narrative that feels anything but derivative or conventional.