In this blog post, we’ll examine the process of restoring brotherly bonds through the journey of Raymond, an older brother with autism, and his selfish younger brother Charlie, while exploring the film’s various expressive techniques—including character development, structure, cinematography, and editing.

The Encounter Between an Older Brother with Autism and a Selfish Younger Brother

“Marathon,” the biggest box office hit of the first half of 2005; the film “Oh! Brothers”; Bae Hyung-jin; Kim Jin-ho… What do these seemingly unrelated figures have in common?
It is “autism.” ‘Marathon’, a film adaptation of the true story of a person with autism; Bae Hyung-jin, the real-life protagonist of ‘Marathon’; the film ‘Oh! Brothers’, in which one of the main characters has autism; and Kim Jin-ho, the 2005 gold medalist at the World Para Swimming Championships in the Czech Republic—all of them have autism. As social awareness of autism continues to grow, there is a film from as early as 1988 that depicts a brother with autism and the process of discovering true brotherly love while navigating life with him. That film is ‘Rain Man’.
‘Rain Man’ stars Dustin Hoffman and Tom Cruise and was directed by Barry Levinson in 1988. It won the Grand Prix at the Berlin Film Festival and the Golden Globe Award for Best Motion Picture, and swept the 1988 Academy Awards, taking home Best Picture, Best Original Screenplay (Ron Bass), Best Director (Barry Levinson), and Best Actor (Dustin Hoffman). Not only was the film a massive box office success worldwide, but it is also regarded as a masterpiece that, through its exceptional artistic merit, serves as a powerful reminder of the importance of family love in a modern society steeped in materialism.
Back in my third year of middle school, when I knew nothing about movies but was drawn by their inexplicable charm to rent one film a day from the video store, I stumbled upon this film purely because of the star-studded cast. I remember it not only as the film that reaffirmed for me the true allure of cinema but also as one that allowed me to experience the boundless power of emotional resonance that movies can evoke.
Looking at the film’s basic information, the director is Barry Levinson, the producer is Mark Johnson, and the lead actors are Dustin Hoffman, Tom Cruise, and Valeria Golino; it was released in 1988. This American film depicts the journey of a selfish younger brother—who attempts to seize the inheritance of his older brother, a man with autism and a remarkable memory—as he gradually comes to understand the true meaning of brotherly love.
Charlie (Tom Cruise) is a rough-around-the-edges car dealer who ran away from home due to a falling-out with his father. Charlie has received an order for a new model but is worried because he hasn’t received approval from the Environmental Protection Agency. After persuading his clients with quick thinking, Charlie is on vacation with his girlfriend, Susanna (Valeria Golino), when he hears the news of his father’s death. Attending the funeral for the first time in over ten years since he left home after a fight with his father, he expects to receive a $3 million inheritance.
However, the “inheritance” waiting for him there consists only of an old car—the very one he had secretly driven away in as a child, only to be accused of theft and end up in a police cell—and a rose garden. He is shocked to learn that his father had left his entire fortune to his older brother before passing away. Burdened by debt, Charlie tracks down his older brother Raymond (played by Dustin Hoffman)—whom he used to call “Rain Man”—to claim his share of the inheritance, eventually finding him in a psychiatric hospital.
Raymond has autism; he lives by a strict daily schedule but possesses an extraordinary ability to memorize things. However, Charlie, coveting his brother’s inheritance, willingly becomes his guardian and, driven by self-interest, takes him out into the world on a road trip. But because Raymond is afraid of heights, he cannot fly, so the two are forced to embark on a long journey along the highway. One day, Charlie discovers that his brother has an extraordinary ability to memorize all numbers, and he uses this ability to make a fortune at a casino. The relationship between the two brothers, which seemed irreconcilable, finally revives their past bond through their journey along the highway.

A journey of rediscovering family love

‘Rain Man’ is a human drama in the form of a road movie that tells the story of a selfish younger brother (Tom Cruise) with an older brother (Dustin Hoffman) who has autism, and his journey to rediscover family love. Thanks to Dustin Hoffman’s dazzling performance, the film swept the four major Academy Awards categories, including Best Actor, Best Picture, Best Director, and Best Original Screenplay.
Steven Spielberg was initially considered for the director’s chair. Dustin Hoffman was originally slated to play the role of Charlie, but upon seeing the character of Raymond—a blind, learning-disabled boy with cerebral palsy who possesses a genius-level talent for transcribing concertos by ear on the piano—he was so moved that he shed tears and decided to take on the role of Raymond instead. In the original script, Raymond was a cheerful and endearing character, but after Dustin Hoffman first read it, he insisted on rewriting the role to portray a shy character with autism.
Raymond’s character was inspired by a man named George, who could tell the day of the week for any given date or year but was unable to perform even simple multiplication.
After seeing a psychiatrist, Raymond leans his head toward Charlie and says, “My main man, Charlie.” This line was reportedly improvised by Dustin Hoffman and was not originally in the script. Raymond also mentions that his underwear was bought at the K-Mart on Oak and Burnett, which is actually the address of the hotel where Raymond, Charlie, and Susanna stayed early in the film. Additionally, Raymond remembers names in the phone book ranging from “Marsha” to “William,” which are reportedly the names of Dustin Hoffman’s actual relatives.
Meanwhile, director Barry Levinson made a cameo appearance as the psychiatrist deciding whether Raymond could stay with Charlie. According to reports, this film was one of Princess Diana’s favorites.
Views on ‘Rain Man’ can be divided into several categories. First, it can be examined as a film that deals with autism. The film can be viewed from various perspectives: a socially critical view of the protagonist—who, due to an unhappy adolescence, lacks a warm, compassionate nature and has been conditioned by materialism and selfishness; a critical view of the unfair treatment of people with disabilities by those without disabilities; the intention to contrast a non-disabled person with a twisted personality against a person with a disability who possesses a compassionate nature; and the presentation of a possible path toward coexistence between people with and without disabilities. A distinctive feature of this film is that it prominently features the perspectives of Charlie, the doctor, and the nurse—that is, the world’s view of people with disabilities—rather than the perspective of a person with a disability, namely Raymond’s.
Furthermore, ‘Rain Man’ can be viewed as a human drama. As the film progresses, we see a shift in the perspective of Charlie, the younger brother, toward his older brother Raymond, who has autism. Raymond transforms from someone Charlie simply saw as a means to steal $3 million to a “precious” being who embodies the meaning of “true brotherhood” as Charlie begins to feel love for his brother. Along with the change in Charlie’s attitude toward Raymond, Charlie’s personality also undergoes a transformation. As he lives with Raymond and develops affection for him, Charlie comes to understand the meaning of family love and becomes someone who genuinely loves Raymond.
Significance can also be found in the film’s status as a road movie. In a road movie, the protagonists achieve inner growth through a series of events that unfold as they continue their journey. The landscapes along the protagonists’ route serve to illustrate the imagery of the film’s unfolding events. First, we can point to the contrasting images of the Eastern and Western regions of the United States, which serve as the film’s vast backdrop.
The Eastern region is home to the nursing home where Raymond lives. Raymond spends his days confined to the facility under the supervision of doctors, unable to venture far. In short, it is a static and quiet setting, which I believe is to some extent related to the rigid social atmosphere of the East, where white people constitute a significant portion of society. In contrast, the West is home to the vibrant port city where Charlie lives. It is also represented by places of revelry, such as Las Vegas. This is a dynamic and rising image, associated with the flexible social atmosphere of the West, where a diverse mix of ethnic groups plays a significant and undeniable role in society. While traveling from the East to the West, the protagonists cross a bridge by car. The “bridge” serves as a symbol connecting these two distinct regions—the East and the West.

The Character Development of Raymond, Charlie, and Susanna

Raymond (Dustin Hoffman) is a man with a genius-level intellect who, due to autism, is unable to communicate with others. Dustin Hoffman delivers a masterful performance reminiscent of an actual person with autism, featuring a vacant, unfocused gaze, a childlike, wobbly gait, and responses that are strangely out of sync. The film features a somewhat passive portrayal of disability throughout: Raymond is led out of the care facility by his brother without much thought; his special abilities are discovered by his brother; and as his brother’s perspective on him changes, Raymond transforms into a highly intelligent older brother who loves his younger brother.
Charlie (Tom Cruise) is a mild-mannered materialist. Despite his extraordinary intellect, Charlie feels guilty and regretful when confronted by the down-to-earth humanity of Raymond, who is as humble as can be. As a materialist, Charlie has only an outward appearance and no inner life. In contrast, his brother is an autistic man who possesses only an inner life and no outward appearance. It is only when his brother is about to leave that Charlie realizes what true love is and what it means to give to others; as he watches Raymond get into the car and leave, unable to hide his anxiety, Charlie’s eyes are filled with tears of boundless affection.
From the opening scene through the middle of the film, Charlie was a nervous character exuding a strong sense of materialism; however, once he learns that Raymond is the “Rain Man” from his memories and realizes Raymond was sent to a nursing home out of fear that he might get hurt, he feels compassion and begins to treat Raymond with sincerity.
Susanna (Valeria Golino) plays a crucial role in helping Charlie develop affection for Raymond and awaken to the importance of family bonds. As a third party who urges Charlie to treat Raymond with humanity, she demonstrates the thoughtful consideration characteristic of a woman—such as occasionally serving as a kissing partner to help Raymond overcome his autism, even if only slightly. Susanna is moral and kind, and she serves to soften not only Charlie’s emotions but also Raymond’s.
The film begins by introducing the character of Charlie. We first see what his work environment is like, where he works, and the nature of his relationship with his girlfriend; the fast-paced work setting sparks interest and serves as a very appropriate opening. The event of his father’s death, which is revealed later, serves as the catalyst for the entire story, and Raymond—the film’s other protagonist—is introduced when Charlie visits the nursing home and meets him. With the introduction of the main characters and the establishment of the situation complete at this point, the opening segment can be said to conclude.
The film’s first turning point occurs when Charlie takes Raymond and escapes from the nursing home. From this point on, the story enters a new phase, and the two men’s journey to Los Angeles begins. The middle section of the film primarily consists of this journey. Along the way, the two experience several conflicts and reconciliations.
The second turning point, marking the transition from the middle to the conclusion, occurs when Charlie realizes at a motel that “Rain Man”—the imaginary friend he had been talking to—is actually Raymond. After this revelation, their relationship deepens significantly, and they grow close enough to even exchange jokes. The final act centers on the events the two experience after they’ve bonded. Using Raymond’s memory, they win big at a casino and have a wonderful time; in particular, Charlie comes to feel a deep sense of brotherly love for Raymond during this process. However, Raymond is ordered to be sent back to the nursing home, and the two part ways with regret.

The Brotherly Bond Revealed Through Conflict, Costumes, and Lighting

The film’s conflict structure can be broadly divided into two parts. Throughout most of the film, the protagonist, Charlie, is facing financial difficulties. Consequently, he argues that it is his rightful entitlement to receive half of his father’s inheritance and strives to secure it. The obstacles standing in his way are his father’s will and the presence of his older brother, Raymond. Ultimately, the conflict arises between Charlie, who seeks to claim the inheritance, and Raymond.
Additionally, the conflict between Charlie—who goes so far as to kidnap Raymond to get the money—and his girlfriend, who opposes him, forms another layer of conflict within the film. Toward the end, as the two brothers grow closer, the fundamental conflict enters a new phase, albeit briefly. While hinting at the resolution of the conflict between Charlie and Raymond that was evident throughout the film, the ending depicts a minor conflict between Charlie—who wants to stay with Raymond—and the lawyer, who insists that Raymond must be sent back to the nursing home.
Since this is a drama-style film dealing with real-life, contemporary stories, there are no costumes that were specially designed or created to catch the audience’s eye. However, if there is one scene where the costumes carry significance, it is the moment when Charlie discovers Raymond’s exceptional memory and they travel to Las Vegas, where the two walk down an escalator together. Before heading to the casino simply to make money, Charlie buys his older brother a suit and shoes, and the scene where the two walk down the escalator dressed identically demonstrates the unifying effect of their attire, conveying a sense of unity between the older and younger brothers.
Overall, the film’s lighting wasn’t particularly distinctive, but it seemed to grow brighter as the story progressed. From the opening scenes at the office through the moment when Raymond is met and brought home, the atmosphere was still unfamiliar, bleak, and dark. Later, however, the scenes of the brothers descending the escalator together in their suits, Susanna and Raymond dancing and kissing in the elevator, and the final moments where the younger brother and older brother part ways only to be reunited—filled with faith and tender affection—were portrayed as very bright scenes.

The Brothers’ Transformation Captured Through Realistic Cinematography

Overall, ‘Rain Man’ is not a film where the use of camera techniques stands out particularly. The primary cinematographic techniques used in ‘Rain Man’ can be described as pans, tracking shots, and zoom shots. These were mostly employed to explain the setting, express the protagonist’s psychological state, or foreshadow events. Among these, zoom shots were particularly effective in imbuing a single scene with connotative meaning—whether by hinting at future events or illustrating shifts in the relationships between characters.
However, there do not appear to be any camera techniques in ‘Rain Man’ that are particularly noteworthy or outstanding. One gets the impression that the story was conveyed faithfully and realistically, without any visual tricks from the camera.
Looking at the use of pans, there are a few scenes worth noting. Shortly after the film begins, we see Charlie’s office. All three employees in the office are busy answering phone calls. Here, the camera shows the three characters in succession without a cut, capturing the hustle and bustle inside the office. Charlie is in a romantic relationship with Susanna, a coworker, and they plan to go on a trip together after work. However, while in the car, he receives a phone call informing him of his father’s death and abruptly changes the car’s direction. By using a pan shot to capture the car making a sharp turn, the camera conveys to the audience that Charlie is indeed turning the car around in a real hurry. This, of course, further heightens the sense of speed.
In another scene, after the funeral, Charlie tracks down a nursing home after asking around. He happens to run into Raymond, who is watching TV in his room. In the hallway, Charlie hears from the doctor that Raymond has autism; at this moment, the camera uses a pan to show the two brothers in succession. As the camera passes the wall of the older brother’s room, it reveals the younger brother in the hallway, creating a natural transition between spaces. Furthermore, by showing the autistic older brother and the neurotypical younger brother separated by a wall, the scene serves to contrast their characters.
Eventually, after taking his brother out of the nursing home, Charlie finds himself constantly clashing with him. While driving, Raymond keeps mumbling to himself as he listens to the radio, so Charlie frowns and tells him to stop. In this scene, the pan shot alternates between the two men’s faces, clearly contrasting their expressions, moods, and personalities.
In ‘Rain Man’, tracking shots were primarily used to convey the characters’ psychological states. There is a scene where Charlie behaves rudely during his first visit to Raymond, such as carelessly pulling books off the shelf. By filming Raymond—who watches this with an anxious gaze—and Charlie using a tracking shot, the director appears to express Raymond’s anxiety and indicate that the relationship between the two is strained.
In the scene where Susanna and Raymond first meet, there is a moment where Susanna approaches Raymond and asks, “Where should I put this card?” At this point, the camera pulls back. This creates the impression that Susanna is moving toward the viewer, and it appears that the tracking shot was used to convey that Susanna is a positive character in Raymond’s eyes.
There is also a scene where, after leaving the nursing home and checking into a room for the first time, Susanna and Charlie cross over to another room, leaving Raymond behind. Here, the camera pulls back in the direction Charlie and Susanna are walking. Consequently, compared to the two of them—who seem to be moving toward the camera—Raymond, left alone in the room, appears to be further in the background, conveying a sense of his loneliness. A short while later, drawn by moans coming from the next room, Raymond moves toward it. The shot shows Raymond from behind, and the tracking shot that follows him appears to convey his anxious yet curious state of mind.
A zoom shot is a technique that strongly appeals to the viewer’s emotions, as the object captured in close-up is intensely emphasized. Therefore, scenes shot primarily in close-up are intended to elicit emotional investment from the audience. Although zoom shots were used sparingly, they were highly effective in revealing the protagonist’s psychology and foreshadowing key events.
Charlie enters the bathroom with Raymond and turns on the hot water to help him. As Raymond looks back, the camera cuts to a close-up of the faucet. The camera views the faucet through Raymond’s eyes. Upon seeing the hot water flowing from the faucet, Raymond has a seizure. In the process, Charlie realizes that his brother was sent to a nursing home for his sake and that “Rain Man,” his childhood playmate, is actually Raymond, leading him to look at his brother with warmth. By emphasizing the faucet—which serves as both a foreshadowing of Raymond’s impending seizure and the catalyst for Charlie’s understanding of his brother—the film signals to the audience what events are to come and offers a hint as to how their strained brotherly relationship will be resolved.
There is also a scene where, while Raymond and Charlie are having breakfast, Charlie discovers that Raymond has memorized the titles, artists, and numbers of every song on the jukebox. At this moment, the camera cuts to a close-up of Charlie’s face, which shows both surprise and delight. Seeing this expression, we realize that Raymond’s ability will be put to use somewhere; it not only reveals Charlie’s state of mind but also hints that Raymond will end up gambling.
In the scene where Charlie and Raymond head to the gambling den and go on a winning streak, the camera—which had previously shown the brothers enjoying themselves—suddenly captures a stranger watching them. This moment gives the impression that this man will cause trouble for the brothers in the future. The shot of the surveillance camera on the ceiling also indicates that someone is watching them, creating an ominous atmosphere.
Upon arriving at Charlie’s house in LA, Raymond keeps muttering the words he says whenever he feels anxious. At this moment, the camera adopts Charlie’s point of view. The close-up of Raymond reveals that Charlie is now looking at him with a different perspective than before. This scene shows that Charlie is taking an interest in Raymond, paying close attention to him, and accepting him as his brother.
Although the drive-by shot was used frequently in ‘Rain Man’, it wasn’t employed as a technique with any specific symbolic meaning. Similar to a tracking shot, the drive-by shot was used extensively because there were many scenes involving travel by car. In scenes where the car is moving, the surrounding landscape is filmed to convey a sense of speed. They were also used to convey changes in time and space by focusing on bridge piers, trees, or power lines instead of the landscape. In these instances, the camera followed Raymond’s line of sight. Other techniques, such as handheld shots and long takes, were also employed.

Shots Depicting the Brothers’ Bond and a Realistic Camera Style

While staying in Las Vegas, Raymond makes plans to go on a date with a woman. In reality, the woman had simply given him a dismissive answer, but Raymond, believing the promise, begins taking dance lessons from Charlie. That day, thanks to his exceptional memory, Raymond wins a huge sum at cards, which allows him to stay in the best room.
In front of a large window overlooking the glitzy Las Vegas skyline, Charlie and Raymond learn to dance, making physical contact for the first time and deepening their bond. At this point, the shot transitions from a medium shot—with Las Vegas clearly visible in the background—to a long shot, and then to an extreme long shot that zooms all the way out. The camera then moves back in from the outside, gradually shifting from a long shot to a medium shot and finally to a close-up, conveying the intimacy between the brothers and their first sense of unity.
Realistic camera techniques for drama. I believe this is the essence of the cinematography showcased in ‘Rain Man’. As a film that falls under the drama genre, ‘Rain Man’ conveys an objective perspective; this is because it does not assign meaning or symbolism to specific objects—allowing each viewer to interpret them differently—but rather ensures that everyone is moved in the same way and shares the same emotional experience in the scenes the director intended.
‘Rain Man’ seems more concerned with what to show rather than manipulating the subject matter. It uses ordinary material—not something new or distorted—merely to lay foreshadowing or serve as a medium. Consequently, the cinematography also aims for an objective perspective. It employs many long shots that reflect a realistic viewpoint similar to people’s everyday perspective. The camera angles are shot from eye level, and the framing places the characters in the center without any attempt at stylization.

‘Rain Man’ Viewed Through the Lens of Editing and Expressionism

Looking at the editing, fade-outs were used more frequently than fade-ins for scene transitions. Even the final scene, in which the brother is sent off, concludes with a fade-out.
Jump cuts were used extensively in this Hollywood film, as it primarily employed continuous editing rather than discontinuous editing. In modern cinema, while artistic merit and creativity are valued, box-office success and entertainment value are also key considerations, making the progression of the story a crucial element. Therefore, if each individual scene were edited discontinuously, the film’s runtime would become excessively long, leading to boredom. Furthermore, this would unnecessarily multiply the content, resulting in significantly higher production costs. With the exception of the opening car scene, the film featured a relatively high number of cuts.
Handheld shots typically used tracking or running shots, so there was no camera shake. Since this technique is usually employed in horror or mystery films to follow the protagonist or to create a sense of realism and vitality, it didn’t seem particularly necessary in ‘Rain Man’.
As mentioned earlier, since this is a Hollywood-style film, continuous editing was primarily used instead of long takes. If one were to single out a long take, it would be the opening scene at the office where Charlie and two employees are constantly answering phone calls; this appears to have been shot as a long take to establish the situation at the beginning of the film. Additionally, the next scene shows Charlie and his girlfriend, Susanna, taking a road trip; here, too, they engage in casual, non-essential conversation to establish their characters, but the shot remains unbroken. Later, when Charlie meets Raymond, the film again presents their dialogue and actions without cuts to introduce Raymond.
Deep focus involves keeping the foreground, midground, and background all in focus. The primary function of deep focus is to enable the audience to selectively engage with the film through long takes and mise-en-scène. Deep focus contributes to long takes by providing a variety of visual elements proportional to the length of the take and by allowing for free camera movement. Furthermore, scenes shot with deep focus are a cinematic technique that illuminates all subjects within the frame equally, allowing for the richest storytelling through the most economical means.
This ultimately involves capturing everything equally within a single shot without cutting; however, as mentioned earlier, ‘Rain Man’ made extensive use of pans and featured frequent cuts. Consequently, deep focus was hard to find; if one were to single out an example, it would be the scene where Raymond follows a sound into Charlie and Susanna’s room. There, Raymond appears out of place as he watches television, while Charlie looks on in bewilderment and Susanna gazes at him with sympathy—a single shot that effectively conveys the entire situation.
After World War I, French Impressionism, Russian Formalism, and German Expressionism were the dominant artistic movements of the era. Looking back at film history, this period can be considered the most vibrant in European cinema. As for their commonalities, first and foremost, they challenged the existing nature of film as a medium for depicting reality, seeking to perceive reality in a new light and explore the intrinsic meaning of the images.
Expressionism creates the illusion that something is real, even though it is not, through the stylization and distortion of cinematic subjects. Stylization refers to the practice of depicting only a specific aspect of an object—for example, focusing solely on the length of a pen if one assumes it is long—while distortion involves exaggerating or minimizing the subject being portrayed. Furthermore, directors are interested in expressing their own subjective experiences. They focus on expressing subjective experiences rather than universal trends, and are more interested in the essence of a subject than its objective aspects.
Rather than simply presenting the form or outward appearance of a subject, they use it to reveal more abstract concepts. They believe that distorting outward appearances allows psychological and spiritual truths to be conveyed more effectively. The manipulation and reconstruction of the real world is the world they pursue. Camera composition serves as a tool for self-expression. Consequently, they strive to depict a diverse range of worlds.
‘The Cabinet of Dr. Caligari’ is composed of anti-realist elements—such as compositions dominated by eerie curves and diagonal lines, distorted perspective, fantastical lighting effects, and exaggerated acting—and is a work that intensely and subjectively depicts internal images of anxiety and chaos. Formalists establish a connection with avant-garde cinema, which projects the director’s unique worldview or distinctive style.
In contrast, modern cinema aims to reproduce the concrete reality of the world. It strives to minimize distortion, filming and editing scenes as they are. “Rain Man,” in particular, is a drama that must convey an objective perspective. This is because the film does not assign meaning or symbolism to specific objects—allowing each audience member to interpret them differently—but rather aims for everyone to be moved in the same way and to share the same emotional experience in the scenes the director intended.
Another difference from Expressionism is that the director’s presence is kept so subtle that the audience is unaware of it and, consequently, forgets it. ‘Rain Man’ is more concerned with what to show rather than manipulating the subject matter. Instead of presenting something new or distorted, it uses ordinary subject matter merely to lay foreshadowing or serve as a medium. In terms of cinematography, it also aims for an objective perspective. To achieve a realistic viewpoint, it makes extensive use of long shots, which represent the general human perspective. The camera angles are shot from eye level, and the framing places the characters in the center without any attempt at stylization.

The Importance of Family, Reaffirmed by ‘Rain Man’

Charlie had a faint memory: ‘Rain Man’, an imaginary friend from his childhood. He would visit Charlie when he was alone and sing to him. As their journey draws to a close, Charlie spots Raymond humming a song. The “Rain Man,” whose identity he had always wondered about, turned out to be Raymond; his older brother, who had a mental disability, had been sent far away to ensure his younger brother’s safety.
Charlie, who had always been self-centered, learns for the first time in his life “how to ask for forgiveness” and offers his brother the words, “I’m sorry.”
Although it’s the most ordinary and clichéd story, ‘Rain Man’ is truly moving, and at the heart of this emotion lies Dustin Hoffman’s performance. He transformed a character who was initially portrayed as neurotypical in the original screenplay into someone with autism, and through relentless observation and practice, he perfectly embodied the role of a person with autism.
Who, after all, is disabled, and who is not?
The two protagonists of ‘Rain Man’ are Charlie and Raymond. Charlie is a greedy, selfish character born of modern materialism. In contrast, Raymond—though he has autism—is portrayed as a pure-hearted genius. Who, then, should we consider disabled? Should we simply assume that anyone with fully functioning limbs is “normal”?
The way we view people with disabilities is far too cold. Charlie is a mentally disabled person created by our society. The Charlie of the past—who, driven by selfishness and materialism, viewed his family, which should have been his greatest treasure, merely as a means to his own advancement—is a scene that reveals just how “abnormal” and “disabled” we truly are.
Is it merely a fantasy to think that, like Raymond, we too possess extraordinary abilities, yet that societal institutions and the education system are actually stifling our potential? In a way, I find myself wondering once again whether we—who, like Charlie, have mental disabilities—are deluding ourselves into thinking we aren’t disabled simply because we make up the majority.
The scenes depicted in ‘Rain Man’ are not beautiful. From the big city to the dust-swept highways, the spaces in ‘Rain Man’ are always barren. These images speak directly to modern people and the increasingly strained family relationships of the modern world. ‘Rain Man’ is not merely a simple story about brotherly love; it is a film that prompts us to reflect on a modern society where the very meaning of family is gradually crumbling.
Charlie, who—due to an unhappy adolescence—lacked a warm, compassionate nature and viewed his family with nothing but cynicism, gradually opens his heart and begins to treat his brother with genuine warmth; meanwhile, his brother also subtly begins to open his heart toward his younger brother and the outside world. This process clearly demonstrates just how important family is as a social relationship for human beings.