Why don’t you play with yourself

For a man just released from the mental institution, Pat (Cooper) seems to have an alarmingly optimistic view on his future well-being. He is convinced his estranged wife, who has taken out a restraining order against him, will come back to him and he’s unafraid to try whatever he can to win her over. His strategy is to think positive. Because with all the good energy and vibe, he believes he has a shot at a “silver lining” (hence the title).

Pat has bipolar disorder for which he needs medication. When undiagnosed with this condition, he had the misfortune of walking into his home to find his wife in the shower with another man. He almost beat the guy to death, for which he carried out a sentence of 8 months in the aforementioned mental hospital. But armed with the motto “Excelsior” that gives him inspiration and a reliable recharge he needs to get back to his normal life, Pat is back. His parents however, Pat Senior and Delores (De Niro and Weaver, respectively), aren’t fully convinced that their son is fully in control of his situations. And just as they feared, he shows signs that all may not be well.

Mental illness is a difficult subject matter to handle well, especially if it is the director’s intention to include some humour into the mix. But David O. Russell, although not exactly the go-to guy for comedy, manages to sensitively address the issues surrounding his protagonist’s everyday obstacles, and how the condition affects not only him but the ones around him. He allows his characters to be as outrageous as humanely possible, without ever mocking those with mental illnesses. They are never rounded off into broad stereotypes of unstable, screaming and psychotic caricatures, but often well-grounded and controlled with only brief moments of outbursts that fit in with the scenario.

With the introduction of Tiffany (Lawrence) Pat’s life becomes more complicated. As a self-proclaimed slut (she got fired from her job by sleeping with everyone at her office) mourning the sudden death of her husband, she’s unafraid to speak her mind, much like Pat, and she seems to be the only one who understands what Pat is going through and what kind of help he truly needs. And in this central role Lawrence, giving the most mature and gutsy performance to date, truly grabs on to your attention and never lets go. With twisted complications of her own to deal with, Tiffany is a tough nut to crack, but behind the cold eyes of hers there is a lonely human being who longs for a true connection, a friend, and someone who perhaps understands her.

It would appear Pat isn’t the only one in his family with problems. His father, with subtle hints throughout the film telling us that he has OCD, has lost his job and has been making a living as a book-keeper betting on football games always loyally supporting the Philadelphia Eagles. So how does this little subplot fit in with everything going on? Pat Sr considers his son to be his own little lucky charm, although Pat Jr has a hard time accepting such nonsense. But in a tender, film-defining moment we see the quiet yet beautifully nuanced De Niro opening up ever so slightly, which to his character, is a huge step and he lets us know it.

Caught up in the family chaos, and arguably the only sane one who acts as the glue keeping everyone together is the family matriarch, Delores, nervously standing by to diffuse whatever situation may flare up. This is Australian actress Weaver’s yet another stunning supporting turn. Here she has less to do compared to the bigger names, no speeches or showy moments, but her warmth is just as easily felt as the worried mother and wife. She is so natural in exuding the love and devotion of a full-time housewife that she in fact plays a huge part in creating this loving family drama.

As the film increases the stakes when it comes to both Pat Sr’s bets as well as Pat Jr’s blossoming relationship with Tiffany through a dance competition, there is a sense of forced overlap of sorts to make a bigger, rousing moment of victory, which marks the film’s only notable misstep. But the high it ends on is a truly remarkable and sensational one, with the people you’ve constantly rooted for getting the ending they thoroughly deserve.