No one likes to be on the receiving end of anger, no matter whether it is justified or not. After all that is what makes forgiveness so appealing, as it neutralises this load that no one dares to bear. Which brings me to examine the Oscar season movie focusing squarely on anger management, "Three Billboards Outside Ebbing Missouri", and how anger turn out to be a vehicle of goodness.
An interesting post I had read earlier from a fellow movie enthusiast, expressed immense personal dislike in particular towards the film's lead protagonist Mildred. In particular the view drew contrast between Mildred and the protagonist in an earlier Oscar winning movie in 2016 dealing also with anger and grief, namely Lee Chandler from "Manchester by the Sea". The thesis was that Lee Chandler is much more worthy of sympathy than Mildred as he self-directs his torment, unlike Mildred who has selfishly dragged the entire town into her pot of vengeance, such that everyone emerges a "loser", as in her words.
If you examine solely the direction in which the anger is exacted, Mildred does appear extremely unreasonable. However upon scrutinising the origins behind the two different stories and characters' grief and anger, we may better understand and empathise with Mildred. Spoilers ahead for both films.
Lee Chandler originally had a happy family with wife Randi and three children. As you find out eventually in the course of "Manchester by the Sea"', it is unquestionably through Lee Chandler own negligence when being intoxicated, that the fire which engulfed and killed his children was ignited. Meanwhile, the situation for Mildred in Thee Billboards is markedly less clear-cut.
Mildred's early ill treatment at the hands of her former husband Charlie sets up the dysfunctional environment which her children Angela and Robbie grew up, leading them to have a conflicted relationship towards their mother. In the light of this setting, Angela rebels against Mildred by insisting on taking the family car without permission out for a drive unsupervised, which culminated in her very own rape and murder.
The similarity between Lee Chandler and Mildred is their grim realisation that nothing they can do will ever bring their children back to them, and this aspect of manifests as self-directed grief and anger, which both Lee Chandler and Mildred possess.
Mildred Hayes unfortunately has an additional baggage of other parties being also involved in the genesis of the tragedy (for example her fickle ex-husband Charlie who has quickly moved onward to a new relationship with a minor; her muted son Robbie who despite having done his part to help, was too little too late). Coupled with the chronic ineptitude of the town law enforcement team (namely Willoughby and Dixon) to solve the case, she has taken upon the huge mission of getting all these members to be accountable for their own part in this lack of closure.
Over the course of the film, despite the initial wrath Mildred had drawn from majority of the townsfolk, I would say things have worked out for the better for all involved in a weird way, all thanks to Mildred's efforts, extreme they may be. Through the final letters of Willoughby before his death, we sense empathetic comradeship between Mildred and him, notwithstanding their conflict with each other from a professional standpoint. It may very well have been Mildred's situation that prompted Willoughby to prioritise his family over all else in his last days. He even sponsors her for additional rent in putting up the billboards, indirectly conceding his remorse at not being able to do more. Robbie consents to showing grudging support for Mildred through a stoic calmness in school and helping her with setting up of the replacement billboards. Also, it is Mildred's case coupled with the departure of Willoughby, that starts Dixon's personal and professional journey to maturity. Even her ex-husband Charlie takes some ownership over his irresponsibility in the bar scene.
Midway in the film, there is a rare scene of Mildred displaying her vulnerability (the other being the scene where Willoughby coughs blood in front of her) , confiding with a deer. Through this we see her for exactly what she is, a woman who is unfortunately bearing way more than the usual load from family tragedy, questioning God, to whom should she pass the load onward and how to do it.
Then she had concluded in a exasperated manner her doubt in the existence and presence of God. Oddly though, from the outcome of everything, she may actually be the vehicle of God himself on others, as everyone has come to terms with themselves when the film ends. Let us hope that as she drives off with Dixon on that road trip, she also finally finds her own much needed peace. That peace which everyone gets, is the best victory for this senseless world.
