essay on the movie the giver

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20 years ago, Lois Lowry's dystopian YA novel "The Giver" won the Newberry Medal. Creepy and prophetic, told in a kind of flat-affect voice, it has been a staple in middle-school literature curriculum ever since, introducing young students to sophisticated ethical and moral concepts that will help them recognize its precedents when they come to read the works of George Orwell or Aldous Huxley. Jeff Bridges has been attached as a producer to the film project for almost 20 years, and finally, "The Giver" is here, with Bridges in the title role. Directed by Phillip Noyce, with an adaptation of the book by Michael Mitnick , "The Giver" gives us the overall structure of Lowry's original work, adds a couple of understandable details like a sweet little romance and then derails into an action movie in its final sequence, complete with attacks from the air and a hi-tech command center. Children have been thrilled by the book for 20 years, and a chase scene still proved irresistible. Despite a truly pained performance from Jeff Bridges and a beautifully imagined, three-dimensional futuristic world, "The Giver," in wanting to connect itself to more recent YA franchises, sacrifices subtlety, inference and power.

"The Giver" takes place in a community at some point in the indeterminate future where "Sameness" is prized above all else. Multiple factors have gone into creating a monochromatic world (literally, colors have been erased) where individuality is crushed, a citizen's every move is monitored from the moment of birth, natural families have been replaced by artificial "family units" and choice has vanished. A soothing voice makes passive-aggressive scolding announcements over loudspeakers. The Giver's cavernous dwelling, perched on the edge of a cliff, is a gloomy and masterful set, overlooking the clouds gathered below, making The Giver appear like Citizen Kane, holed up in his mansion surrounded by accumulated possessions and raw pain.

"Precision of language" is enforced, and so people are constantly apologizing and saying "I accept your apology" to each other, but in a rote way that drains the language of meaning. "The Giver" is a cautionary tale about what happens when language is controlled and limited—ground well covered for all time in "1984"—where citizens have no language available to them outside of "newsspeak." Memories are gone, too, in "The Giver". One person in the Community is chosen to be "The Receiver" of a collective memory, memories of now-extinct experiences like love and war and sex and pain. Through the course of the film, the young Jonas ( Brenton Thwaites ), chosen to be the next Receiver, is introduced to complexity and emotion and his entire concept of the world as he knows it shatters. He must now make a choice: to stay or to flee. It's a powerful set-up, made even more stark by Noyce's choice to film the majority of the film in black-and-white. When Jonas starts to see colors again, there are unavoidable " Pleasantville " connections.

Jonas is raised in a family unit, with Katie Holmes and Alexander Skarsgård acting as parental units. He has two best friends, Fiona ( Odeya Rush ) and Asher ( Cameron Monaghan ), and they are about to "graduate from childhood," and take on their assigned jobs in the community. There is a gigantic ceremony, led by the Chief Elder (Meryl Streep, who shows up as a holograph the size of a building), and each child is called to the stage to receive their assignments. The entire community gathers in a massive stadium, everyone dressed in identical white, so it looks like a gigantic celestial choir or a formal-dress LGAT workshop. Everyone speaks in unison. Everyone claps the same way. Everyone looks forward. No one moves. The effect is eerie.

Jonas is surprised when he is not assigned a job at all. He is, instead, "selected" to be the next Receiver, because he apparently has the ability to "see beyond." He has no idea what that means. Jeff Bridges, who becomes The Giver once a new Receiver is chosen, sits in the front row of the stadium, grim and remote. The thousands of people present start to chant in a repetitive whisper, "Jonas … Jonas … Jonas …"

The training sessions, when they come, are part Mr. Miyagi, part vision quest, and part "Quantum Leap." The Giver bombards Jonas with memories from all of humanity, memories that thrust Jonas into the thick of the action: he feels snow falling for the first time, he is shown the full spectrum of colors, he is given shaky-cam experiences of war, he also dances around a Maypole with a saucy wench while wearing a pirate shirt. There are multiple quick-shot montage sequences of smiling babies, praying Muslims, crashing waves, paper lanterns, crying elderly people. The music swells, pushing the emotions on us, but the montages have the opposite effect intended. Instead of revelatory glimpses of the rich tapestry of human experience, they seem like Hallmark-collages uploaded on YouTube. Noyce has also made the questionable choice to co-opt real-world events, and so suddenly we see Tieneman Square in the montage, or the Arab Spring, or Nelson Mandela. It's cheap, hoping to ride the coattails of others, as opposed to finding a visual form and style that will actually express the strength of the human spirit.

Jonas begins to look around him with new eyes. He wants to kiss Fiona. He wants to have the choice to feel things that may be unpleasant. He is not allowed to share his training with others.

The young actors in the film are pretty nondescript, the lead included, although Thwaites seems to come alive in mischievous ways when he starts to take care of a fussy newborn who can't stop crying at night. Holmes and Skarsgård are both strange and unplaceable, playing human beings whose emotions are entirely truncated. "Precision of language, please," says Mother at the dinner table when one of her children starts to speak. Bridges galumphs across the screen, a madman out of Melville, tormented, lonely, in and out of reality. His memories sometimes flatten him. There is one moment where he tells Jonas what the word is for the "feeling between people," and his eyes burn with pain and loss as he says, "Love. It's called love." It's the only powerful moment in the film. His emotion is so palpable it reaches off the screen and grips your throat.

The use of heavy explanatory voiceover to open and close the film is disappointing, especially since a couple of lines have been added to the famous last paragraph of the book. Not surprisingly, the lines added remove it from the moody ambiguous statement of hope that it is in the book, and turn it into a complete platitude. We've heard it a hundred times before. It emanates Sameness with every word.

Sheila O'Malley

Sheila O'Malley received a BFA in Theatre from the University of Rhode Island and a Master's in Acting from the Actors Studio MFA Program. Read her answers to our Movie Love Questionnaire here .

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The Giver (2014)

Rated PG-13 for a mature thematic image and some sci-fi action/violence

Jeff Bridges as The Giver

Meryl Streep as Chief Elder

Brenton Thwaites as Jonas

Alexander Skarsgård as Jonas's father

Katie Holmes as Jonas' mother

Odeya Rush as Fiona

Cameron Monaghan as Asher

Taylor Swift as Rosemary

• Phillip Noyce
• Michael Mitnick
• Robert B. Weide

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The Giver By Lois Lowry: Comparison Between Book And Movie

His father is a nurturer of newborns and when Jonas’s little brother Gabriel is born he is a troubled child. Jonas finds out through the Giver that Gabriel will be taken away, so Jonas saves him. Jonas starts to grow apart from his family after he finds out the secrets of how things within the society work. His best friends are Asher and Fiona are introduced within the first couple chapters and Jonas tries not to share any memories with them because he is not supposed to, but because the Giver explained love to him, so he starts to fall in love with Fiona and wants to show her that feeling.

The Giver does more explaining to Jonas than giving. Jonas spends less time with the Giver, and that is much different than the book because he always went to the Giver to find out more. As I previously stated, The Giver, is a much better read than a movie. First of all, Jonas is noted to be different from everyone else in society. Jonas matures from age eleven to a twelve year old that takes on a great deal of responsibility, which the movie lacks. The development of his character brings the reader to think of the morale behind the story .

Being granted the Receiver of memories at age twelve sounds like a big duty to handle, but the book’s detail and creativity with this profession really grasps the reader’s attention. Throughout the entire book the reader stays on edge. It may be an easy read, but it has enough suspension to keep the reader engaged. The story’s viewpoint is of Jonas, so reading first hand what he is feeling, thinking, and doing is on a far more personal level. Whereas in the movie all of these characteristics are not present. They way the memories are brought into the movie really puzzled me. The Giver did more explaining than giving and that was confusing.

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Movie Reviews

'the giver' strikes old and ominous notes about the dark side of serenity.

Mark Jenkins

Jeff Bridges (left) produces and stars as the title character in The Giver , alongside Australian actor Brenton Thwaites, who plays Jonas, his young apprentice. The Giver is the first film rendition of the popular 1993 young adult novel by Lois Lowry. Courtesy of The Weinstein Co. hide caption

Jeff Bridges (left) produces and stars as the title character in The Giver , alongside Australian actor Brenton Thwaites, who plays Jonas, his young apprentice. The Giver is the first film rendition of the popular 1993 young adult novel by Lois Lowry.

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Arts & life, australian filmmaker phillip noyce gets serious.

It might seem hard to describe The Giver without revealing some of those plot points that touchy suspense fans call "spoilers." But this brisk, deftly art-directed parable is basically unspoilable. Even viewers who know nothing of its source, Lois Lowry's 1993 novel, will be able to anticipate every development.

That's because Lowry's vision of a serene but secretly corrupt future society offers little that wasn't imagined decades earlier in 1984 , Brave New World and Fahrenheit 451 . Lowry just cooked such books down for a preteen audience that hasn't read them.

After years of trying, producer and star Jeff Bridges finally got The Giver made because of the success of The Hunger Games and similar tales of noble teens in a world run by manipulative adults. So the first task was aging the novel's protagonist (Jonas, played by Brenton Thwaites) from 12 to 16.

Jonas lives in a community, called "the community," that's any high schooler's vision of hell: It's run by guidance counselors. Where in Divergent the kids were separated into different castes upon graduation, in The Giver they're given specific assignments. None is more specific than Jonas'. He's the new receiver, assigned to learn the real history of humanity from the bearded, avuncular title character (Bridges, clearly enjoying the sound of his own voice).

Katie Holmes (left) and Alexander Skarsgard play Jonas' parents, who support the efforts of The Giver 's dystopian government. David Bloomer/Courtesy of The Weinstein Co. hide caption

Katie Holmes (left) and Alexander Skarsgard play Jonas' parents, who support the efforts of The Giver 's dystopian government.

Among the many questions the movie barely attempts to answer is, why do the positions of giver and receiver exist? The elders, led by an often holographic Meryl Streep, don't want anyone else to know about the bad old days of war, famine and hatred. So why not assign Jonas to flip burgers for the rest of his life, and send the Giver on a long walk off a short pier?

Because, of course, there is violence just beneath the community's veneer of calm. That's one of the alarming if unsurprising things Jonas learns once he starts receiving — and stops taking his daily dose of mood controller. As in the substantially more macho Equilibrium , ingestion of a Valium-like drug is required. This relaxant suppresses emotion and individuality, and even its users' ability to distinguish color. So the first part of The Giver is in black and white, like Pleasantville .

If the movie hits ominous notes, they've all been heard many times before: There are no books or music in the futuristic planned community, human reproduction is controlled by the state, kissing is unknown, and families are not genetically related. Jonas has merely been assigned to his father (Alexander Skarsgard) and mother (a drawn-faced Katie Holmes).

To make it less of a kiddie story, director Phillip Noyce and scripters Michael Mitnick and Robert B. Weide have added romance (Jonas has the unauthorized hots for a classmate played by Odeya Rush) and boosted the action. There are chase scenes — including one on a bike path that's lighted even though people aren't allowed to go out at night — and confrontations. Also modestly exciting are the fragmentary flashbacks to a former receiver, played by Taylor Swift. (She and the community broke up, and they are never ever getting back together.)

Ultimately, Jonas must make a choice, and leave his sterile home for the forbidden outback. It's not a spoiler to reveal that he finds a refuge there. Or that this new abode offers the sort of picture-postcard coziness that could have been simulated by his former community's devious elders.

Review by Brian Eggert August 16, 2014

For some of us, Ray Bradbury’s Fahrenheit 451 (1953) was mandatory middle school reading. Nowadays, Lois Lowry’s similarly themed young adult novel The Giver (1993) has become the dystopian text of choice for school curriculums. And while Bradbury’s text was made into a serviceable film by François Truffaut in 1966, the film of Lowry’s text is nowhere near as accomplished. Lowry’s heady exploration into the importance of shared learning and emotion in society through a muted, deeply philosophical narrative, has been exchanged for a paranoid teenage dystopia escape movie, the likes of which we’ve seen before (recently in The Hunger Games and Divergent ). Producer-star Jeff Bridges and director Phillip Noyce ( Salt ) deliver a conceptually interesting production of modest budget and notable castmembers, but the abbreviated runtime of 94 minutes is too long concerned with perpetuating a white-knuckle thriller than embracing the thoughtful discussions of Lowry’s book. But this film review is not just the ranting of a reader devoted to the source material; those unfamiliar with the book will undoubtedly feel plagued by the story’s sense of implausibility as well.

The film opens with voiceover narration from Lowry’s protagonist, Jonas, an 18-year-old boy (played by 25-year-old Australian actor Brenton Thwaites) who introduces us to his colorless world, which, for the first third is presented in black-and-white. The film’s narrator goes on to explain all the ways in which his world is different than ours. There’s no color, art, emotion, lying, platonic relationships, bad weather, war, or expression whatsoever, as the leaders of this isolated flatland community—which, similar to many others like it apparently, rests on a plateau surrounded by clouds—have suppressed such desires through a daily injection. Chemicals inhibit people’s desires and therefore, society can function peacefully, driven by the prevailing desire for peace, safety, and above all, a “sameness” of conduct and even race. And there’s a pointed concern for “precision of language”—as a result, metaphors have disappeared (at least no one will annoyingly misuse “literally” in a figurative sense here, such as “I could literally eat a horse”). But Jonas is different; he can see subdued impressions of color.

From the outset, the film’s biggest mistake is telling us how the setting is disturbingly different from our own, without letting us discover it, piece by piece, by ourselves. Screenwriters Michael Mitnick and Robert B. Weide may have included many scenes from the book, but their treatment, and the film’s approach with a narrator who has the benefit of hindsight to guide his voiceover’s observations, remove much of the surprise and shock that would normally come with many of the story’s most potent revelations. Moreover, the writers clearly have it in mind to make this the next teen phenomenon after Twilight or The Hunger Games , and in turn, fabricate a forbidden love subplot involving Jonas and his friend Fiona (Odeya Rush). All the while, Noyce seems to forget that he’s directing a world in which emotions have been suppressed. The characters, particularly the youngsters, laugh and play and worry without inhibition. The only emotions that appear to have been curtailed are those born in their loins. Once Jonas stops taking his shots and convinces Fiona to do the same, the “stirrings” below the belt return. (Then again, Lowry’s book has Jonas experience some “stirrings” while bathing an elderly woman, which may not have translated well to the screen.)

On this world’s version of graduation day, young adults like Jonas and his peers are assigned their job in the community. But at the ceremony, Jonas is skipped over and singled out. Because of his capacity to “see beyond,” Jonas has been chosen to be “The Receiver of Memory”, a mysterious position now held by a bearded Obi-Wan Kenobi-like figure (Bridges, using his Rooster Cogburn voice, but without the Southern drawl), who, now called “The Giver”, will transfer the vast majority of human memories into Jonas. Why The Receiver is a necessary community function isn’t really made clear in the film, although Lowry’s book suggests he guides the community’s elders, headed here by a resident Big Brother figure called The Chief Elder (Meryl Streep), by offering his insight based on his knowledge of history and human memory. The community has jettisoned all history, memory, and emotion so humankind can keep functioning safely, productively, mindlessly. And so, Jonas begins his training, and his marked ability to see colors is enhanced. Soon he’s feeling all sorts of emotions and can barely contain himself.

This becomes troublesome for The Chief Elder, who carefully monitors Jonas’ progress in fear of another failure, like the one ten years ago that is alluded to throughout. Jonas’ creepy parents, his regulator mother (Katie Holmes, whose casting may have an intentional off-screen parallel), and his baby-nurturing father (Alexander Skarsgård), also show concern that their son is dancing and smiling too much, while his younger sister, Lily (Emma Tremblay), persists as a happy little girl. Meanwhile, The Giver shows Jonas the joys and horrors of humankind before The Ruin—the cataclysm that impelled this world into existence. Passing on the knowledge and wisdom that weigh on him, The Giver encourages Jonas to escape when the young student can no longer bear the strain, or accept how wrong it is for the elders to deny people the basic freedoms of emotion. Before long, the film devolves into a chase sequence, complete with Jonas outrunning The Chief Elder’s motorbike goons and flying drones. It all leads to The Giver pleading to The Chief Elder in a puts-too-fine-a-point-on-it speech about the importance of love, and Jonas’ escape leading to the return of all emotions and history to the community.

As both an adaptation and a stand-alone film, The Giver is something of a mess. The emotional performances are out of touch with what’s supposed to be an unaffected environment, but nothing about this onscreen world is detached. It’s a world whose secrets are shared within the first few scenes, whose unknowns are strewn out for us, and whose sense of discovery is nonexistent. What’s more, Noyce’s conceptual choice to gradually move from black-and-white to color is inconsistent; since the effect is meant to represent Jonas’ perspective, we’re left wondering why there are still visible colors in scenes where Jonas isn’t present. Worst of all, the filmmakers of this modestly budgeted production remove Lowry’s thought-provoking intent from a book that, for some school districts, is potent enough to be banned. But no one will be thinking about the importance of memory and pain, love and history, and their impact on society after the film is over. But no one will be banning The Giver , because it’s not controversial; it’s a fascinating story that’s been reengineered to fit an overexposed, commercially viable Hollywood formula tuned for mass consumption and mindless viewership.

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• In a seemingly perfect community without war, pain, suffering, differences or choices, a young boy is chosen to learn from an elderly man, the true pain and pleasure of the "real" world.
• A youth named Jonas lives in an equalized, colorless, but pleasant society with no knowledge of love or pain. When he and his best friends Asher and Fiona come of age, they receive their societal roles, with Jonas given the rare position of Receiver (of Memories). Because of this, he meets a mentoring elder Receiver (later called The Giver). They look at memories of the past world, of joy, pain, and love. As Jonas receives these memories, he breaks the cardinal rule against sharing them with others, thereby getting in trouble with the watchful Chief Elder. When Jonas discovers that an infant boy named Gabriel will be terminated, his efforts to save the child put him squarely against his society. Deciding that all must re-learn to see color, feel pain, and show and receive love, Jonas becomes public enemy number one.
• A young man living in a future where complacency is valued above all else discovers the sinister secrets that hold his fragile society together after being selected to become the Receiver of Memory in this adaptation of author Lois Lowry's Newbery Medal-winning young-adult novel. Jonas (Brenton Thwaites) was raised to believe that conformity is the key to contentment. The society Jonas lives in is a peaceful one, in large part because their collective memories have been entrusted to the Giver (Jeff Bridges). A mysterious yet seemingly benevolent figure, the Giver is the sole guardian of the community's dark and hidden history. When that history is revealed to Jonas over the course of his illuminating sessions with the Giver, the young man learns that the wisdom he now holds could dictate the fate of the entire society. Later, as the weight of that responsibility becomes too great a burden for Jonas to bear, he realizes that his only hope of saving the ones he loves most is to flee. Unfortunately for Jonas and perhaps his entire world, every previous attempt to escape has ended in failure.
• Jonas (Brenton Thwaites) was raised to believe that conformity is the key to contentment. The society Jonas lives in is a peaceful one, in large part because their collective memories have been entrusted to the Giver (Jeff Bridges). A mysterious yet seemingly benevolent figure, the Giver is the sole guardian of the community's dark and hidden history. When that history is revealed to Jonas over the course of his illuminating sessions with the Giver, the young man learns that the wisdom he now holds could dictate the fate of the entire society. Later, as the weight of that responsibility becomes too great a burden for Jonas to bear, he realizes that his only hope of saving the ones he loves most is to flee. Unfortunately for Jonas and perhaps his entire world, every previous attempt to escape has ended in failure..
• Born in a peaceful, perfect world where everyone is happy, the eighteen-year-old man, Jonas, receives an unexpected honor. Chosen to be the community's Receiver of Memories, Jonas enters into training with a mysterious, silver-haired man who imparts memories of the "real" outside world hidden from the rest of the society. As Jonas learns from the "Giver" not only of love, family and home but also of pain, war, death, and all the unhappy truths the world holds, before long, he comes to realize that everything he knows is a lie and that those who govern this seemingly Eden-like realm are fake and immoral. Now Jonas has his back to the wall, confronted with a bleak new reality, pressing dilemmas, and above all, difficult choices. Can he ensure the freedom and the future of his people? — Nick Riganas
• In the year 2048, after a war, the community has decided to get rid of different races and feelings. All the citizens have had their memories erased; except for the Receiver of Memory. Since the Receiver of Memory is the only individual in the community who has the memories from before, he must advise the Chief Elder (Meryl Streep), and the other Elders, on the decisions for the community. The world has many communities, all headed by the chief elder. The Chief Elder holds an annual ceremony to "assign" careers to all boys and girls turning 16. The careers are assigned based on observed traits throughout their childhood. The community has no concept of differentiation or emotions or sex or violence. The climate is controlled, so it never rains or snows, the folks are genetically modified not to see any color (as that is a form of differentiation). Jonas (Brenton Thwaites) is a 16 year old teenager who is anxious about the career he will be assigned (along with everyone else). He has two best friends: Asher (Cameron Monaghan) and Fiona (Odeya Rush). On the day of graduation, everyone is assigned a career. Jonas is briefly skipped, as he has not been assigned a career. Instead, Jonas is to become the next Receiver of Memory, and progressively receive memories from the past receiver, The Giver (Jeff Bridges). Upon assuming his role as The Receiver, Jonas learns of the Giver's past and of his child, Rosemary (Taylor Swift). She preceded Jonas as Receiver of Memory, and was so distraught from the memories that she committed suicide, by what the Community calls releasing. Thru The Giver, Jonas learns about emotions like love, hatred, war, colors. He finds a map which shows a "boundary of memories" around the community & within the surrounding area called "The Elsewhere", which Jonas speculates to be the area outside of which Jonas's & The Givers memories will be released to the entire world & will no longer be "contained" within them. They regard the nature of releasing as mysterious; the audience learns that it is death by lethal injection. Jonas begins to teach his findings to his friend Fiona, with whom he decides to share the idea of emotions. Fiona, who is unable to fully comprehend the idea of emotion, is unsure how she feels. Jonas then kisses Fiona, an action which is antiquated and unknown to the community, which Jonas gained through memory. Jonas also shares his memories with the baby his father brought home to their house, Gabe, and develops a close relationship with him after discovering he shares the same mark on his wrist Jonas does, the mark of a potential Receiver of Memory. Jonas decides that everyone should have the memories of the past and eventually, the Giver and Jonas decide that the only way they can help the community is to go past the border of what they call Elsewhere, beyond the community, therefore releasing the memories back into the community. Jonas sneaks out at curfew, and decides to get Gabe at the Nurturing Center, who is to be released due to his general weakness. Asher, his other longtime friend besides Fiona, tries to stop him before he leaves the neighborhood, but Jonas quickly punches him. Asher lies on the ground, stunned, and Jonas rides his bike to the Nurturing Center. He tells Fiona his plan and wants to take her with him, but she refuses and instead helps him retrieve Gabe. Before he leaves, she kisses him and helps him escape. Meanwhile Jonas's mother (Katie Holmes) and Asher, go to the Chief Elder to tell them Jonas is missing. Guards are sent to contain Jonas, who they say has become "dangerous", but Jonas gets one of their motorcycles and drives off the cliff near the Giver's dwelling into "The Elsewhere". Asher is assigned, by the Chief Elder, to use a drone to find Jonas and "lose" him but when Asher finds Jonas stumbling through the woods, he captures him with the drone. After Jonas implores Asher to think that if he ever cared for Jonas to let him go, Asher drops him into a river, setting him free. Jonas stumbles through the land of Elsewhere, while Fiona has been condemned to be "released" for helping him. Just as she is about to be released by Jonas's father, the Giver steps in and stalls the Chief Elder with memories of his daughter, Rosemary, trying to call out the Chief Elder, in which she succeeded. Jonas's mother begins to cry starting to understand the feeling of love. Eventually, Jonas finds a sled like one he rode in a memory from the Giver and makes his way beyond the border of Elsewhere, releasing memories and color back into the community and saving Fiona because Jonas's father realizes what he was really doing. Jonas and Gabe return to the house of his memories, where people are singing Christmas carols, and his voiceover says that back in the community, he swears he hears music too, or possibly just an echo.

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Introduction to The Giver

Summary of the giver.

The main task of the Receiver of Memory is that they should have the collective memory of his community not only of the present but also of the past generations. Once the training starts, he becomes happy that at least he is the Receiver of Memory, having everything at his fingertips tips. The current Receiver of Memory, ‘the Giver’, trains and instructs him how to store vast data in his mind. The very first lesson in memory retention techniques is of the sliding down which surprises him that such a simple task receives such as high confidentiality merely for the sake of sameness, a plan that involves that involves uniform geography, climate and discouraging individuality including skin color. Sameness involves eliminating choice, emotions which could possibly lead to happiness or pain in turn causing war-like situations. As the time passes, he learns about colors, human nature, war, and several other such things strange and bizarre to him. Although he tries to learn about Rosemary, the former student of the Giver but does not get any information about her.

Soon his father informs about his worry about a fragile child in his custody at the Nurturing Center. He has won permission to take him home to improve his health. Eventually, Gabriel, the same boy, grows into a healthy child. His pale eyes, like that of Jonas, attract his attention toward the boy who finds him similar to himself, having the capability of retaining memories. However, it also transpires to him that if Gabriel does not become strong, he will be “released” soon to reach Elsewhere, a concept equal to death and graveyard. The Community has rules to send all such persons including the former student, Rosemary, to Elsewhere where they live in peace.

The Giver further informs Jonas about such things through a video camera in which he sees his father, the Nurturer, sending two boys to Elsewhere through a poisonous injection. This video rather shocks his morality after watching his father killing two children. Also, his friend Fiona is being trained in the fine art of ‘released’. However, the argument of the Giver to justify this action falls on deaf ears. He tries to explain that his father and people like who are being trained for this job do not know this is evil since feeling are not part of the life. He informs him that Rosemary has released herself. The ensuing polemic wins Jonas a place in the heart of the Giver who acquiesces to his argument that they must do something to change the Community and join hands in this venture. Jonas’s idea is that he can do it by leaving the community early, providing the Giver an opportunity to help the people to manage memories.

During the hard journey, Jonas ponders if he has made the right choice since the bike journey becomes even more difficult and experience starvation for the first time. But later realizes that if he had stayed back he’d have starved for the feelings and most importantly Gabriel would have not been alive. He dwells upon the risk of making a ‘choice’ has consequences but concludes that ‘physical hunger is less destructive than emotional one’. He feared for the life of Gabriel than his own expressing compassion, love which was never felt by his community.

Major Themes in The Giver

Major characters in the giver, writing style of the giver, analysis of the literary devices in the giver, related posts:, post navigation.

Themes and Analysis

By lois lowry.

'The Giver' is, at times, a dark and disturbing novel, touching on themes of loss and control.

Article written by Emma Baldwin

B.A. in English, B.F.A. in Fine Art, and B.A. in Art Histories from East Carolina University.

At the same time, it’s also a novel of hope , depicted through the beauty of colors seen for the first time and joys never before experienced. It’s a novel that ends with an image that alludes to the enduring nature of the human spirit and future possibilities.

The Giver Themes 

Memory .

It’s through memory in The Giver that the community leaders exert control over everyone else. Collective memory is a thing of the past. Wars, loves, hate, joy, and any remnant of the time before the community is lost. Lowry was interested in using this novel to explore what happens when all memories disappear. Does a happier community emerge when the dark parts of human history are lost?

Despite the community’s desire to leave their past behind, the elders also understood the age-old proverb that those who forget the past are doomed to repeat it. This meant that someone had to remember. The Giver plays the role, and Jonas was meant to take it up after him. He’s there to make sure that no one starts down a dangerous path that might lead to consequences known only to him. 

Free Will/Control 

Jonas’s community is nothing without control. The community leaders exert control by making everyone believe that total obedience is the only way to live. The rules are their lives, and there is no choice but to follow them. There are rules for every part of life, ensuring that free will is surprised and the individual. 

The Individual 

This final theme is tied directly to the other most prominent themes in the novel. There are moments in Lois Lowry’s novel where Jonas notes the individuality of his friends, family members, and most importantly himself. Jonas feels different than his friends do, and he knows he sees the world differently as well. This is something that proves to be correct when at the Ceremony of the Twelve, he’s singled out to be the new Receiver of Memory. It’s the first time in his life, and in the lives of the other children, that they’ve had their differences highlighted. Some are more suited for one job or another.

Jonas only becomes more of an individual, something the community doesn’t encourage, as the novel progresses. He’s given memories, something unique in his world.  One of the more powerful moments of the novel comes at the end when Jonas realizes that he’s making memories of his own, ones that belong only to him. 

Analysis of Key Moments in The Giver 

• Jonas sees an airplane, learning that there’s life outside the community. 
• His father brings Gabriel home. 
• Jonas feels the “stirrings.”  
• Jonas goes to the Ceremony of the Twelve and becomes the next Receiver of Memory. 
• Jonas meets the Giver and learns about good and bad experiences.  
• He gives Gabriel memories to calm him down. 
• Jonas starts to see colors. 
• He learns about the Giver’s daughter, the previous receiver of memory, and her release. 
• Jonas learns what “releasing” means . 
• The Giver and Jonas make a plan for him to escape the community. 
• Jonas runs away with Gabriel. 
• Jonas and Gabriel sled down the hill towards Elsewhere. 

Style, Literary Devices, and Tone in The Giver 

Lowry’s narrative style in The Giver is straightforward and clear. It comes across as a simple recitation of events, almost journalistic. The plot progresses from the beginning to the end of the story with very few exceptions. Lowry uses clear language that’s easy to understand throughout the book, solidifying her choice to direct this novel towards young adults. Additionally, the simple language helps describe the simple lives of Jonas, his family, and his friends. Everyone lives preplanned, organized lives, similar to how Lowry’s writing depicts them. This is also how one might describe the tone. It is direct in most parts of the novel and, as it progresses, becomes more emotional and distressed as Jonas learns more about his community. 

It’s not until the Giver comes into the narrative and starts relaying memories to Jonas that the style changes at all. The memories are moving, mysterious, and strange. This changes the way that Lowry writes and the images she creates. In these passages, and in all those in which Jonas is thinking about his world, Lowry uses rhetorical questions. These are questions to which the speaker does not expect an answer. Jonas is filled with them regarding every element of his life. 

Lowry makes use of several other literary devices in The Giver as well. These include euphemisms or phrases that stand-in for something uncomfortable or difficult. For example, “release” is used instead of kill. This is a great example of how the language Lowry selected for the community reveals something about them as much as it tries to hide the truth. When the families gather together to share their feelings, they’re doing the exact opposite. Lowry employs a cliff hanger at the end of the book when she chooses not to reveal what happens to Jonas and Gabe. 

Symbols in The Giver

The apple .

The apple is a symbol for all that’s missing in the community. Its red color, something that’s lost to everyone in the community except Jonas, represents freedom, human nature, and emotions. The red of the apple also appears in other parts of his life. It comes to represent desire when he sees it in Fiona’s hair, and then later. It features in the rainbow that the Giver shares with him. It reemphasizes the entire range of human experiences and emotions that Jonas, his friends, and family members are missing out on.

Gabriel 

Gabriel is different as Jonas is different . This is something that Jonas recognizes right away. He has pale eyes (later revealed to be blue, like Jonas’s), and Jonas can tell he’s far more thoughtful. The child represents innocence and acts as a powerful contrast to the emotionless community that chooses to kill him. For Jonas, Gabriel also represents hope. Hope for a better life, one filled with love, and one where a child can grow up without the threat of being “released.” 

Sled Ride 

The sled rid is the first memory that Jonas receives from the Giver. It’s one of pure joy, untouched by anything unpleasant. It’s a wonderful experience that does not prepare him for the terrible memories to follow. After receiving the memory, Jonas dreams about the sled ride and the unknown destination at the hill’s bottom. There’s something in the distance that he’s riding towards, but he doesn’t know what it is. It symbolizes his future and the new life that waits for him when he escapes the community at the end of the novel. 

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About Emma Baldwin

Emma Baldwin, a graduate of East Carolina University, has a deep-rooted passion for literature. She serves as a key contributor to the Book Analysis team with years of experience.

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by Lois Lowry

The giver themes, individuality and freedom of choice.

By eliminating as much personal variation as possible in favor of Sameness and a predictable society, Jonas 's community has rejected the truly utopian possibilities of a society where people are free to move society forward. The result is a dystopia of conformity. A series of conversations between Jonas and The Giver shows that the totalitarian rationale for restricting each person's choice of clothing, job, spouse, and children results from the fear of making wrong choices. Yet, as Jonas realizes after he escapes from the community, he would rather be able to choose his destiny than remain in the safety of a community that normally does not even allow its citizens to choose their time and manner of death. Although the possibility of individual choice sometimes involves risk, it also exposes Jonas to a wide range of joyful experiences from which his community has been shut away. His conversations with The Giver lead him to understand both the advantages and the disadvantages of personal choice, and in the end, he considers the risks worth the benefits.

The dangers of stability and predictability

As explained by The Giver, a key aspect of their society's decision to establish Sameness rather than expose people to the risks of climate variation or mistaken choices was their desire to remain safe from the pains that humanity and nature used to suffer. In one of Benjamin Franklin's classic formulations, "They who can give up essential liberty to obtain a little temporary safety, deserve neither liberty nor safety," and Jonas's society has permanently chosen safety over liberty. The disadvantages of this choice become all too clear as, for example, the citizens do not question their way of life or even their orders to kill the young and the Old through release. Furthermore, the absence of pain in their society desensitizes them to emotions, including positive emotions. The Giver portrays what might today be called an extreme kind of "sustainable" society, one in stasis that can neither draw lessons from its mistakes nor remember its mistakes to prevent future ones, especially without the aid of The Receiver. This is a society in which the humans cannot be said to be fulfilling themselves as human beings; their development is stunted in many ways in the name of stability and predictability.

The importance of human emotion

Whereas the nightly sharing of feelings is intended to explain away and resolve the emotions of the day, Jonas learns that the most important emotions are those that cannot be explained or discussed but only felt, such as the Stirrings or the love of a family. In many cases over the course of the novel, Jonas instinctively feels that something is right but allows his intellect to convince him that it is wrong, such as when he takes the pills to counteract the Stirrings or when he tries to argue to The Giver that love and family can be very dangerous. Yet, by the end of the novel, Jonas has learned to embrace the full range of human emotion, including to an extent the negative ones, and he allows his emotions and instinct to inform his actions. In contrast, the other citizens of the community, such as Fiona and Jonas's father, have not learned to allow their emotions to reveal their character and help them develop a sense of right and wrong, so they feel no guilt at delivering lethal injections as part of their jobs.

The relationship between memory and wisdom

As The Receiver of Memory, The Giver has to draw upon his memories of mankind's most terrible experiences in order to advise the Committee of Elders whenever they have an unusual experience, such as that of the rogue plane, or when they want to change the rules, such as adding a third child to each family unit. It is also reiterated a number of times that although Jonas has little true wisdom at the beginning of the novel, he learns it through his new memories and through his discussion of these memories with The Giver. In the end, his respect for human life as gained through the memories allows him to understand what he must do in order to benefit the larger community. Meanwhile, the lack of memories held by the rest of the community prevents them from adjusting their own destinies wisely, so they remain terrified of change and are forced to remain in a static, stagnant existence.

Utopia and dystopia

As with many societies that ultimately end up as dystopias in literature, Jonas's community initially appears designed to be a utopia. The society is safe, there are few premature deaths, Jonas's family seems to be loving and supportive, and Jonas has learned to value sharing, equality, and honesty, among other virtues. However, the safety of the society is shown to be equivalent to stagnation, and members of the society become so obedient and unquestioning that they do not even question the value of release if their jobs require that they sometimes euthanize individuals. Ultimately, The Giver shows that the line between utopia and dystopia may be thin, since a lack of moderation in values such as security often results in the curbing of liberty and the rejection of wisdom. We gradually see the apparent utopia turn into a dystopia through the eyes of Jonas, who finally breaks with the tenets of his society after witnessing his father's release of the twin baby.

Loneliness and isolation

Jonas has learned from early childhood to conform and be part of the collective, so when he is selected as The Receiver of Memory, he immediately feels the loneliness that comes from being a special individual in a society where almost everyone is merely a cog in the larger wheel. His memories of tragedies such as war further alienate him from his friends, even as he grows closer to The Giver and to Gabriel , both of whom can share his memories and who thus eventually form two branches of his new de facto family. The loneliness forces Jonas to view his community from a more critical standpoint as he begins to see the weaknesses in the system. Yet, from his isolation he also learns the value of love and belonging as he experiences it through The Giver's memory. In addition, Jonas eventually learns the joys of solitude, which is a positive way of experiencing aloneness.

The concept of release is introduced early in the novel, during Jonas's anecdote about the Pilot-in-Training who mistakenly flies over the community. The concept is continually and mysteriously mentioned without sufficient explanation until nearly the end of the novel. The mysteriousness of death and Elsewhere echoes the uncertainty about death that humans face during their lifetime. Multiple kinds of release are explored in the novel. The Old are released at the end of a long, fulfilled life, and citizens such as Roberto are often joyful at their Releasing Ceremony. Meanwhile, those who make significant mistakes or break the rules, such as the Pilot-in-Training, are summarily executed. The punishment appears overly harsh and adds to the community's dystopian aura. Furthermore, in the cases of Gabriel and the twin, some are executed for no reason at all except that it is inconvenient not to do so. Jonas finds the latter category of killings to be the most offensive of all because they truncate entire lives. Jonas finds such outrages particularly heinous because he has developed an increased appreciation for individual human life due to his received memories.

The Giver Questions and Answers

The Question and Answer section for The Giver is a great resource to ask questions, find answers, and discuss the novel.

How does the author begin showing that Jonas may not quite fit in or not agree with everything in his community? How might these details contribute to the conflict in the story going forward?

Jonas interperets events like the jet at the beginning as the stringent rules differently than others. Jonas asks questions and doesn't take things at face value. He also begins to see colour which others do not see. Jonas eventually questions the...

What do you think of the morning dream telling ritual?

This question calls for your opinion. There is no right or wrong answer. In my opinion, dream telling is rather ridiculous. We all know that dreams are inexplicable for the most part.... and most dreams disappear when we wake up.

Should Jonas have asked them to stop playing the game of bad guys and good guys? CHAPTER 17

No, I don't think Jonas should ask them to stop playing. These kids cannot handle the emotional trauma  of forgetting their lunch let alone understanding emotions behind war and death. They simply would not comprehend what Jonas is talking...

Study Guide for The Giver

The Giver study guide contains a biography of Lois Lowry, literature essays, quiz questions, major themes, characters, and a full summary and analysis of The Giver.

• About The Giver
• The Giver Summary
• The Giver Video
• Character List

Essays for The Giver

The Giver essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of The Giver by Lois Lowry.

• The Cost of Security
• A Lonely Mind With a Heavy Burden: Hope in The Giver
• Is the Society of The Giver a Utopia?
• Reproductive Regulation and the Construction of Relationships for Populace Control in The Giver and “Pop Squad”

Lesson Plan for The Giver

• About the Author
• Study Objectives
• Common Core Standards
• Introduction to The Giver
• Relationship to Other Books
• Bringing in Technology
• Notes to the Teacher
• Related Links
• The Giver Bibliography

Wikipedia Entries for The Giver

• Introduction
• Analysis of themes
• Literary significance and reception

The Giver Book And Movie Analysis Essay

Finally, the long-awaited movie adaptation of the Giver is here. However, no movie adaptation stays completely true to its source material, and the Giver is no different. The Giver movie sustained some massive changes to its characters and plot, not all of which were good. The movie changed the characters’ ages. In the movie, the characters were aged to the average dystopian-fiction age. While Lily only aged a year, Jonas and his friends aged a lot more, jumping from twelve to eighteen.

This age change may have worked with the movie’s modernized dystopian fiction plot and the target audience, but it took away, too. Jonas was only twelve in the book; he was still a child. When a child learns of war and pain and loneliness the way Jonas did, it’s borderline heartbreaking. After all, he’s only a child. When an eighteenyear-old reacts that same way to learning those things, it’s not very effective. You almost want to tell him to “grow up and man up”. When a child escapes his home and family to help them realize true feelings, it’s remarkably brave and courageous.

When an eighteen-year-old does it, it’s nothing special. An age change may have helped the movie get a wider audience, but I wasn’t a big fan of it. The characters’ roles and personalities changed, too. In the book. Fiona was merely Jonas’s acquaintance, while in the movie, she is one of his best friends, and later the object of his affection. Asher also changed when moved to the big screen. In the book, he was the crazy, mischievous “class clown” type, but he was much more serious in the movie.

Maybe his change of personality was merely a side effect of aging six years. After all, it would be a bit strange watching an eighteen-year old behave like a child. The Chief Elder, who you probably forgot existed in the book, is very present in the movie, and drives a lot of the action in the last half of the movie. Most of the basic plot of the book and movie is the same. Both are set in the distant future, in a community devoid of color, feelings, and choice. The plot is recognizable, but it has been changed quite a bit.

Of course, some action needed to be added to the movie, since the book had almost none, but all of that action took away from the book’s original ambiguous, philosophical feeling. It is understandable, though, since this movie appealed to a mostly teen or young adult audience, that staying one hundred percent true to the book would not work. Also, most of the changes in the movie had a reason. For example, during their ceremony, Asher and Fiona were assigned Pilot and Nurturer, as opposed to Assistant Manager of Recreation and Caretaker of the Old.

Asher and Fiona’s new jobs would be useful later in the movie. When Jonas needed to take Gabe from the Nurturing Center, he would need a Nurturer who worked there to help him. Also, when Jonas was escaping, a pilot would be asked to find and get rid of Jonas. Jonas’s escape in general had a lot more tension than it did in the book. Jonas and the Giver planned Jonas’s escape for a while in the book, and only mildly altered the plan by taking Gabe. In the movie, Jonas’s escape was spur-of-the-moment.

Jonas’s escape in the book was thrilling because of our built-up compassion towards him and our uncertainty of whether or not he and Gave would live. In the movie, that thrill was generated by the close call between Jonas’s escape and Fiona’s almost-release. Both methods were effective. But the reason that the latter method worked was because of the relationship between Jonas and Fiona. In the book, Jonas’s feelings for Fiona were minor and not mentioned very much; rather, they were used to help the reader realize what the Community took away. In the movie, hose feelings were blown up into a full-on love story.

These feelings were useful to the movie’s plot: The fact that Jonas and Fiona had feelings for each other drove up the tension when Fiona was about to be released while Jonas was escaping. But, despite it’s role in the plot, this love story was one of many generic, overdone stories of its kind. Overall, the Giver’s plot was changed to fit into the successful dystopian-fiction mold. It ended up working, but still lacked the depth that the book had had. The movie also changed the way in which the viewer got information.

The book relied more on the reader’s intelligence The movie, however, spoon-fed a lot of the information to the viewer. For example, in the book, the reader was expected to figure out that the boundary of memory existed and how it worked, while in the movie, everything was explicitly told to the ver via a map and a conversation between lonas and the Giver. The book was also a lot more ambiguous than the movie. It left more for the reader to decide: Did Rosemary know that she was going to be killed when she was released?

Did Jonas and Gabe actually survive in the end? The movie, however, gives more concrete answers to those questions. Maybe this is due to the fact that the movie was directed toward a younger audience. I, personally, like ambiguous endings more than concrete ones. The Giver’s movie adaptation was okay. When standing by itself, it’s actually a pretty nice movie. But when compared to the book, it’s not as good. Overall, the changes in the movie were understandable, but they are still subject to personal preference, and in my opinion, they weren’t that good.

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Compare and Contrast Essay Sample: The Giver Novel vs. Movie

In 2014, Phillip Noyce made a movie version of Lois Lowry’s novel “The Giver”. Both the book and the movie are set in a community and tell the story of a young boy named Jonas. In both versions, a man named ‘The Giver’ gives Jonas memories about snow, war, grandparents, and more. Throughout the movie version of The Giver, what Jonas goes through is very similar to what happens to him in Lowry’s novel. However the movie is slightly different from the book, they both have setting, plot , and characters. The movie is told mostly through Jonas' mind instead of narration, it ends in a different way from the book.

The novel The Giver has many similarities and differences between the movie. Later in the story, Jonas runs away and takes Gabriel and hides from the night guards and planes. In contrast Jonas runs away, goes to the nurture center to get Gabriel,  then gets chased out, he then goes off of the border on to another land. The other characters don’t show up very often and  don’t have many lines. For example Jonas’ friends Asher and Fiona the movie leaves out details about them such as what they do for training and how they are doing. The change of characters, changed the movie to all of Jonas and makes it more less interesting than the novel. In the novel, the reader discovers many things about their community and how they have to, can’t be outside at a certain time, have to tell them about their dreams every morning, and more. The movie is more focused on a single story line.

Another difference between the novel and movie of The Giver is the characters. Lowry wrote the novel with the characters at the age of twelve where they get their assignments. As in the movie the characters are around the age of eighteen however, they still have the ceremony where they get their assignments. For instance Asher (Jonas’ Friend) gets Recreation of Director in the novel, However in the movie Asher gets Drone Pilot.  Brenton Thwaites who plays Jonas in the movie, uses the actions to reveal Jonas’ thoughts. In addition, there are voice overs, such as when Jonas is looking and thinking about something. While these elements help the audience know about Jonas' character, Jonas’ feelings in the movie are way more clearer than the are in the book.

The ending of the movie version of The Giver is very different from the book. Although parts of the movie are left out of the movie.

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