Good Will Hunting character analysis

UNLOCKING THE PROTAGONIST’S PERSONALITY. GOOD WILL HUNTING CHARACTER ANALYSIS

Good Will Hunting script is based on the same fundamental structural principles as the vast majority of dramatic stories:

• The story has its protagonist, and his name is Will Hunting
• The storyline comprises an adventure/journey from the A-point of his personality to reconsidering/comprehension/transformation
• Will Hunting’s character faces difficulties/moral obstacles on his way, which test him to the limit of 2.0. version
• Reward/Catharsis in the epilogue, achieved by a new emotional version of the protagonist

Will Hunting comes across the audience as a secretive and sheltered young man, who considers sophisticated mathematical equations no bigger a deal than cleaning the floor. In this respect, we, as the viewers and recipients, examine Will Hunting character analysis using a more ingenious approach than we used to. The supporting characters can and should be used to great effect. For all the talented actors and never-to-be-forgotten acting of Robin Williams, we have only one main character, Will Hunting, performed by Matt Damon. A clash of models of social behaviors, friendship, conflicts, disputes, and love gives us great analytic support in revealing the initial image of the protagonist, as Will makes his A-to-B journey, affected and driven by his social environment. A girl, Skylar, Will’s push to leave his comfort zone, and chances for fulfilling his enormous potential in the future shape the final catharsis of the character.         

WILL HUNTING, CHUCKIE, AND THE BOYHOOD FRIENDS CHARACTERS

What kind of first impression do we experience regarding Will Hunting in his incomplete 21 years? The foggy abstract credits are followed by an image of our main character among his only friends, with Chuckie in charge of the group. We should pay unprecedented attention to the unobvious important scene near Will’s accommodation. Chuckie makes his routine way from the car to take his closest friend for a ride, and the between-the-lines sense of the scene is to be revealed dozens of pages of the script from that moment. It would be underlined within a dialogue and the epilogue sequence, yet we only see a young man in cheap sportswear in the heart of Boston’s nowhere. In contrast with the scenes from the Massachusetts Institute of Technology (MIT), Will Hunting follows his friends inside an old car, drinks beer within a local pub, takes part in not the brightest street dialogues, provokes a fight, and even shows zero tolerance to Police officers.

At this very initial stage of the story, we have no more than a troubled young man within the unprivileged and criminal surroundings. As the story goes its way, it’s becoming apparent that Will, intentionally or intuitively, restrained his inner circle with friends free of existential thoughts in search of the meaning of life. Unlike Professor Lambeau, these closest and only friends do not crucify Will with the call to action to fulfill his potential and make radical changes. Within the later stages, the story brings us one of the best dialogues of the Good Will Hunting movie, emotionalized by Chuckie. It fell out that Chuckie is frustrated, if not to say exacerbated by the image of his best friend Will Hunting wasting his life here, in this neighborhood with all his great mind and perspectives. At this vulnerable moment for both characters, Chuckie admits his self-inability and inadaptability to the big world, beyond the daily street routine.     

But you, you’re sittin’ on a winning lottery ticket and you’re too much of a pussy to
cash it in. And that’s bullshit ’cause I’d do anything to have what you
got! And so would any of these guys. It’d be a fuckin’ insult to us if
you’re still here in twenty years.

Chuckie (Ben Affleck), despite having a limitless mind, is more conscious of Will’s genius, regardless of all of Will Hunting’s attempts to pretend the opposite. Will Hunting has always been and still is a white crow. By extension of this point, it was Chuckie who changed his friend’s life beyond one emotional monologue and his car-to-doorstep routine. Under his undoubtedly supervision, a group of friends make a car for Will, a symbol of something more than just a means to waste time in the suburbs of Boston. To this extent, Chuckie gives Will a chance to get out of the neighborhood and his shell, rather than spend his life in Chuckie’s car, while riding and drinking beer. Will Hunting certainly could take a bus or a train from Boston, yet this initiative of his best friend opened the door. This understanding characterizes friendship in the best way possible.  

The ten seconds before I knock on the door, cause I let myself think I might
get there, and you’d be gone. I’d knock on the door and you wouldn’t be there. You just left.

PROFESSOR LAMBEAU

We cannot by any means characterize their first encounter as agreeable and pleasant. Professor Lambeau, laureate of some prestigious mathematical awards, can only judge Will by his appearance as a rude cleaning boy who spoils someone’s work. After revealing the actual potential of young Will Hunting, the professor perceives a young man through a restricted prism of the intellect. ‘Legal assistance’ and freedom from jail for Will Hunting is being craved by Lambeau only as a means to do the math, rather than rehabilitation for a troubled kid. Stated another way, even psychoanalysis and correctional interviews are interesting for the professor as a means to protect a boy from jail to solve equations. Lambeau does not bother himself trying to puzzle out Will, reveal his past, or discern causes, which keep a boy from fulfilling his potential.  

Professor Lambeau can be characterized as the second-role character, who initiates the journey for Will Hunting. In contrast to Sean, a worldly mathematical figure wants to be a mentor, a supervisor, or a teacher, yet not to become a friend. Going deep down, Lambeau does not seek to uncover his personality, to change himself during their communication. Being limited in his free will (freedom or jail), Will Hunting boycotts the professor’s authority to some great extent. He agrees to do the math but rejects the psychoanalysts as the initiative of his mentor. The movie finale leaves Lambeau behind as the least happy character, who fails to change himself and achieve what he wants the most.  

Yes. That’s right, Will. Most days I wish I never met you. Because then I could sleep at night. I wouldn’t
have to walk around with the knowledge that someone like you was out there. And I wouldn’t have to watch you throw it all away

SKYLAR CHARACTER ANALYSIS

The Good Will Hunting character analysis theme of the fulfillment of one’s natural potential is closely intertwined with the motives of love and friendship, emotional attachment, and mutual dependence. At the same time, as Will’s life is being shaken up by Professor Lambeau, a girl named Skylar initiates the first emotional attachment in his life. To this date, Will Hunting’s character has lived in a social shell, self-restricted by the same environment of ‘convenient’ people. His friends would never dump his loyalty in contrast with his biological parents and some foster parents. Paralleling the new friendship with psychoanalyst Sean and a love affair with Skylar, Will’s social alienation is cracking. Hunting probably has had sexual relations before, yet not even emotionally close to a romance with Skylar.       

From the onset of their relations, Will Hunting does not make a secret of his unprivileged social status, yet makes up a big family with twelve brothers and sisters. As an orphan who has suffered violence and been snubbed out with a cigarette, Will invents a social history he never had. Hunting has only three friends and has self-restricted himself to a suburb of Boston, yes, he hesitates about taking Skylar to his accommodation, as even then it will never happen. In this respect, Will Hunting rejects the outside world beyond his comfort zone and is indeed ashamed of his girlfriend.  

Well, what aren’t you scared of? You live in your safe little world
where nobody challenges you and you’re scared shitless to do anything else

One of the main scenes within Good Will Hunting deals with a scandal between two loving hearts. Being frightened by the idea of going to California, Will provokes a blood-tempered argument. He lacks the confidence to make new social relations, to take full responsibility for his own life, and to find alternative ways of doing something. Will is not ready to drop his friends as an image of his future life with a beer and evening near the TV. As things develop, Will is self-conscious with the thought that he is not good enough for a rich girl from England, with only the sky as a limit. Skylar fends away this nonsense regarding social status and shouts that she has enough guts to take a chance. As it was revealed later, Will Hunting was dropped by his parents, and he blames himself.  

It’s more of a disturbing prospect for Will to become boring for Skylar than to be always alone by choice. By being an orphan since birth and a figure of violence, Will Hunting can’t stand the thought of becoming an orphan in his love affair. Most likely, he intentionally failed to take up with other girls before by inventing the most negative scenarios of such relations. Treatment interviews with Sean change Will Hunting, and he can absorb this third-person experience. Even the bitterest failure and the death of a loved one is a kind of personal choice that should never be regretted, as the alienation should be. Will takes for granted the urgent metaphor about the missed baseball sensation years ago for Sean to live in Boston and not regret his own choice. Will lies to Skylar with his offensive indifference and words that he doesn’t love her.   

You’re afraid of me. You’re afraid that I won’t love you back. And guess what? I’m afraid too. But at least
I have the balls to it give it a shot. At least I’m honest with you.

AN UNEXPECTED FRIENDSHIP: SEAN AND WILL

This onscreen and acting duet is rightfully considered one of the best duos in movie history. Sean is not a ‘trigger’ for Will Hunting as Lambeau was, yet it was Sean who set in motion a chain reaction of the most significant changes. Along with that, Sean, unlike Lambeau, is ready to feel vulnerable within the friendship and to make self-changes as a result of shared time. In contrast to five failed forerunners, Sean takes it slowly, not to make any diagnoses for Will and attach labels. He does not try to fascinate Will with the psychological arguments from the recognized books. Sean gets wise to the fact that it will only make Will Hunting defend and hide behind his intellect and wide reading erudition.   

You people baffle me. You spend all this money on beautiful, fancy books–
and they’re the wrong fuckin’ books.

Both Sean and Will make their way through communication by getting from the emotional point A to 2.0. B version. Recalling Freud’s four existential motives, Sean and Will shared these dogmas. Will Hunting can be characterized using isolation and freedom. One might jump to the conclusion that revealing his intellect would open social doors, yet Will prefers to stay with his three ‘trusted’ friends rather than probing his own potential. The fulfillment of own potential borders with ‘isolation phobia’. Sean is thought to be accepted employing death inevitability and searching for the meaning of life. After he had lost a wife, Sean stood the thought of facing death one day. Will Hunting’s character becomes a culmination of motive for Sean and a trigger for his India journey.      

That’s what I’m saying, Will. You’ll never have that kind of relationship
in a world where you’re afraid to take the first step because all you’re
seeing are the negative things that might happen ten miles down the road.

The first interview between a young and arrogant Will Hunting and the six-in-row psychologist was a tough deal. In contrast with the processors who avoided the responsibility as a means to defend themselves, Sean expresses his emotion explicitly, uses foul language, and even uses violence against his patient. He stoically faces the offenses of a young boy regarding the drawing, yet fails to control himself when Will’s sneer is directed at Sean’s wife. What is the reason for Sean to obey professional rules and ethics, to violate his patient, and to use strong words? We should consider the possibility that Sean had already reached the bottom of his life, and he may consider this arrogant boy as his last patient and an epilogue for his own career. Nothing to lose and everything to gain is a means to withdraw from the all-life guidelines. This act of aggression is the first step to leaving a self-created comfort zone, a process that would be surpassed along with his young person under care.    

Maybe you were in the middle of a storm, a big fuckin’ storm — the waves were crashing over the bow, the Goddamned mast was about to snap, and you were crying for the harbor. So you did what you had to do, to get out. Maybe you became a psychologist.

Within the first treatment interview, Will Hunting spills the blood by assuming about Sean’s wife. The second monologue, rather than a dialogue in a par,k gives Sean a chance to fight back and shake Will’s confidence in making judgments. While referring to the pure theoretical images of the world made by Will Hunting, Sean reveals to Will how easy it is to judge people based on their appearance and how buggy these evaluations may be. He emphasizes that he does not intend to judge Will’s orphan’s life based on ‘Oliver Twist’.

Do you think I would presume to know the first thing about who you are because I read “Oliver Twist?”And I don’t buy the argument that you don’t want to be here, because I think you like all the attention you’re getting.
Personally, I don’t care. There’s nothing you can tell me that I can’t read somewhere else.

What is the reason for these two such different men, a young individualist and a mentally devastated doctor, to become mutually dependent? Yes, Sean and Will Hunting did spend their early years in the same district of Boston (Will still does). Yet, the very matter that can be seen as the starting motive for this friendship deals with relative concern and simple involvement. The previous five doctors were much concerned about their time and income rather than the impact on the patient. At the moment when Sean reveals anger, emotions, and even aggression against Will, Hunting feels this involvement and partaking, and meaningfulness of the conversation. Will even manages his self-re-education process along with new treatment interviews, and his attitude towards Sean revolutionizes. From the denial to the attempt to gain control (a one-hour session of silence) and then to dependence, with Will shouting at Sean that he is obliged to give him his time.   

LAMBEAU
What do you mean “he didn’t talk?” You sat there for an hour?
SEAN
No, he just sat there and counted the seconds until the session was over. It was pretty impressive, actually.

We can find the emotional and intellectual culmination in the legendary ‘It’s not your fault’ scene. Sean repeatedly tells Will that it was not his fault as a child to be dropped by his parents. ‘It’s not your fault’ faces denial, then provokes aggression, and finally, Will takes Sean in his arms, crying. This most important catharsis of the movie will later lead Will to leave Boston and take full responsibility for his own life. Will Hunting now comes with an understanding that he could be what he is and be accepted by his friends and other people. He raises confidence and self-efficacy, a kind of certainty with the outer world. As the story comes to its end, both men succeed in changing their lives, breaking the shell of their comfort zone, and leaving the town. Will is on his way to California to be with Skylar, and Sean intends to open India and find a meaning in life. Both Will and Sean take responsibility and upgrade themselves to a new version.    

WILL
Is that why me and Skylar broke up?
SEAN
I didn’t know you had. Do you want to talk about that?
I don’t know a lot, Will. But let me tell you one thing. All this history, this shit…
Look here, son. This is not your fault.