If you were blind your entire life, what would you do if you woke up one morning and could suddenly see? That’s the thought-provoking premise of Ido Fluck’s new film, The Ticket, which stars Downton Abbey’s Dan Stevens. Fluck does a fantastic job of putting ourselves in the protagonist’s shoes, or-- er, eyes, as he opens The Ticket from the character’s POV.
Stevens plays James, a man lucky enough to have a loving wife who we audibly meet during the darkened title sequence. The pair affectionately flirt before bed, and by the next scene, sunlight begins to gently creep into frame. This is James regaining his vision, and after anxiously stumbling into the bathroom, he is equal parts shocked and delighted to discover that he has grown into a handsome adult.
As expected, this sudden miracle is a joyous event at first. James can see his wife, his son, his world for the first time. The family immediately goes on a celebratory vacation, and James rapidly ascends from call center worker to management at the real estate firm he’s employed at. But as Newton’s third law tells us, for every action there is an equal and opposite reaction, and The Ticket is heavily interested in exploring them.
James begins to fully realize the power of his new white-collar position. Coupled with his newly perceived attractiveness and a serious case of FOMO, James transforms into an arrogant, egocentric narcissist. He disavows a longtime friendship with a fellow blind man who works at their company, purchases an expensive new car without informing his wife and, worst of all, engages in a dangerous affair with a sexy female coworker.
Naturally, these circumstances begin to dramatically alter James’ life, but he’s too obsessed with power and the pursuit of pleasure to care. It’s not until James suddenly begins to lose his vision again that he realizes the peril of his mistakes. By then, of course, it’s too late, and The Ticket’s moral allegory is complete.
The Ticket is a compelling examination of human nature. For all of our admiration of humility and inner-character, we still live in a world preoccupied with physical appearance. It’s a message that needs to be shared, and although Fluck chose a unique narrative to express this theme, The Ticket feels a bit too obvious. It was always clear what events would ensue, but Stevens puts in an inspired performance that’s worth sticking around to watch.
James’ third act realization is also very abrupt but, ultimately, understandable. When suddenly gifted with money, or fame, or attractiveness, people tend to lose themselves in the process. James’ story is a precautionary tale that should resonate with viewers despite the character’s unlikeability towards the end. The Ticket is worth a watch, but don’t add it to the DVD collection.
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