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Materialistic and Moralistic Values in The Ticket: An Analysis of the American Dream

Catherine Kelly

Submission Date: 1 November 2017

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Abstract

This paper explores the ways the American Dream is portrayed in Ido Fluk’s 2016 film, The

Ticket. In particular, the film reinforces Walter Fisher’s seminal argument that the American

Dream is composed of two myths: the materialistic myth and the moralistic myth. An analysis of

its lead character—James—reveals that the film is a modern parable that warns against adhering

too ardently to the materialistic aspects of the American Dream. More specifically, The Ticket

mutually perpetuates and critiques the American Dream by showing how James’s failure to

balance his materialistic and moralistic values negatively influences his relationships and sense

of self.

Keywords: American Dream, materialistic myth, moralistic myth, The Ticket, film

portrayals

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Materialistic and Moralistic Values in The Ticket: An Analysis of the American Dream

On its surface, Ido Fluk’s The Ticket is a film about an individual’s social and

psychological transformation when he regains his sight after spending most of his life being

blind. However, a deeper analysis reveals that this film reflects the ways dominant national

ideologies within the United States can create conflict among individuals that can negatively

influence their actions, perceptions, and placement within society. Using Walter Fisher’s seminal

American Dream framework, I explore how The Ticket is a modern parable that warns against

adhering too ardently to the materialistic aspects that are inherent within the American Dream.

Such an exploration contributes to understanding the American Dream’s complex and oftentimes

competing values that can influence an individual’s sense of self and belonging within dominant

society of the United States.

The American Dream is an ideology from the United States that reflects the nation’s

foundational principles, including the ability for people of all backgrounds and standings to find

success in their lives. According to Walter Fisher’s seminal examination of the American Dream,

two myths intrinsically form its ideological underpinnings: “the materialistic myth” and “the

moralistic myth” (160–161). In particular, the materialistic myth focuses on a person’s ambition

and success. Fisher explained that this myth “promises that if one employs one’s energies and

talents to the fullest, one will reap the rewards of status, wealth, and power” (161). The

materialistic myth connotes principles of “persistence, ‘playing the game,’ initiative,

self-reliance, achievement, and success” (Fisher 161). In contrast, the moralistic myth focuses on

equality and embracing strength within one’s community. Fisher explained that the moralistic

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aspect of the American Dream espouses “values of tolerance, charity, compassion, and true

regard for the dignity and worth of each and every individual” (Fisher 161).

According to Fisher, people who ardently adhere to only one of the myths can experience

several disadvantages. For example, people may view those who strongly align with the

materialistic myth as immoral, insensitive, and intolerant; in addition, those who align with this

myth may feel that others view their ambition or success with bitterness or jealousy (Fisher 161).

On the other hand, people who strongly align with the moralistic myth may also experience

certain consequences. For example, they may feel as if they are measured against a high moral

standard, which can lead to their remorse for not living up to one’s expectations; in addition, they

may receive a sanctimonious reputation (Fisher 162). Based on these points, over-adherence to

certain aspects of the American Dream (or a complete lack of adherence to both myths) can

detrimentally challenge the foundation of one’s actions, perceptions, and social positions (Fisher

167). Ido Fluk’s The Ticket is a filmic representation of this argument in that it explores the

negative consequences of pursuing the materialistic aspects of the Dream while abandoning its

moralistic tenets.

By using Fisher’s American Dream framework to examine The Ticket’s lead

character—James Harvey (played by Dan Stevens)—readers can reflect on the ways dominant

national values can influence and construct societal notions of success, identity, and social

position. Indeed, according to film and American Dream scholar J. Emmett Winn, film can

construct and be constructed by people’s perceptions of a given subject; that is, “... film presents

a remarkable resource for observing social definitions, myths, and cultural scripts about

American society” (8). In his work, The American Dream and Contemporary Hollywood

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Cinema, Winn examined film through Fisher’s American Dream framework and argued that the

media, including film, preserve and perpetuate the American Dream ideology (13). Winn found

that Hollywood films—such as Working Girl, The Firm, Titanic, and others (9)—contain

specific themes addressing materialism, social mobility, and morals but that they altogether

maintain the American Dream’s tenets, chiefly in regard to supporting social mobility while also

embracing the morality or integrity in one’s personal “successes” or “failures” (130). While

Winn focused on popular, mainstream films within Hollywood that primarily preserve and

perpetuate the American Dream ideology, this current analysis focuses on a less mainstream and

more independent film: The Ticket.

Although independent films may have a limited financial backing and a limited audience,

they have more freedom in their storytelling because they do not have to please a wider, general

audience (Winn 147). Based on this point, studying The Ticket’s portrayal of the American

Dream can be an interesting addition to the scholarship in that it examines the presence of this

ideology in a less mainstream film. In summary, an analysis of films that portray the American

Dream, such as The Ticket, can help audiences reflect on and consider the inherent value-systems

that are dominant and influential within American culture. The following exploration of The

Ticket will explain how it presents a modern parable that cautions for a balance between the

American Dream’s materialistic and moralistic myths.

At the beginning of The Ticket, James primarily reflects moralistic-myth characteristics,

such as being a dutiful father and husband who makes nighttime wellness checks on his son,

Jonah (played by Skylar Gaertner), and has engaging conversation with his wife, Sam (played by

Malin Akerman). During James’s bedtime conversation with Sam, the portrayal of the American

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Dream begins. In particular, James tells Sam a story/joke that he heard from his coworker and

friend, Bob (played by Oliver Platt). The story is about a man who fervently prays to God to win

the lottery, and the punchline is that God would have helped the man but was unable to because

the man “never bought a lottery ticket” in the first place (00:02:40–00:03:21). James tells this

story a few times throughout the film—all in different contexts—and his fascination with it plays

a large factor in the film’s demonstration of the American Dream. More specifically, the story

represents both myths within the ideology: Through the man’s prayers, he displays a morality

and devoutness. However, the story reflects materialistic aspects of the American Dream, such as

persistence (constant prayers) for monetary gain (winning the lottery). In short, the story has a

lesson that is primarily materialistic in nature: A person must be proactive, ambitious, and work

hard in order to achieve one’s goal; therefore, because the man in the story did not take the

initiative, he could not gain his dream.

Although more materialistic in nature, this story holds some resonance for James. After

telling this story to Sam, James becomes reflective. At this point in the film, the audience has

James’s perspective and cannot view the action except for a few shadows and refractions of light.

However, although the audience cannot view James’s contemplative nature, the audience can

hear his preoccupation through his sighs, restlessness, and pensive tone when he reassures Sam

that he is all right. He then goes outside to pray, and in his prayers, he reflects the moralistic

tenets of the American Dream. He prays: “Dear God, I am thankful for everything I have. I am

deeply satisfied with my life and everything in it. And I live for today, and I enjoy what I do. I do

not compare myself to others” (00:04:02–00:04:18).

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In his prayer, he is expressing compassion, altruism, tolerance, and faithfulness, which

are all aspects of the moralistic myth of the American Dream. James held these attributes during

his early life as well. Much later on in The Ticket, James mentions that when he was losing his

vision, his father often prayed for him, which led James to withhold from his father the extent of

his increasing vision loss. “He took it way harder than I ever did,” James explains when

discussing his father’s reaction to his vision loss (01:04:33–01:05:20). His actions and

observations show his concern and guilt in causing his father distress. These actions represent the

moralistic myth in that they show James’s consideration and love for his family as well as his

remorse for creating any sorrow. According to Fisher, this type of remorse is part of the

consequences of adhering to the moralistic side of the American Dream (162).

The morning after his prayer, James awakes to find that he can see, and in the next few

scenes, he continues to reflect moralistic tenets while Sam focuses on more superficial aspects.

For example, when he arrives home after being examined at the hospital, Sam bustles around the

house to improve its shabby appearance. She also changes into a dress and mentions that she

must style her hair “now that [he] could see [her].” During this time, James expresses his

wonderment at the situation and stares in calm admiration at his home and his wife

(00:09:35–00:10:43). In this scene, he is not concerned with appearances. He is just thankful and

happy that he has his sight. In another example, when Sam takes James to the community center

that they have been frequenting since they met, she expresses concern that he may be

“disappointed” with it. When James asks her why, she answers, “It’s a little sad looking”

(00:12:45–00:13:06). In this instance, Sam is again focused on the superficial aspects of the

community center while James is not. In fact, in the car on the way to the center, James is

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smiling and appears eager to dance with his wife for the first time as a person who has sight.

Once entering the community center and dancing with his wife, James expresses his

astonishment at the experience and states, “This is so strange” (00:13:12–00:13:54).

In these moments, James appears content with and thankful for his life. Although his wife

may have introduced certain materialistic views throughout these scenes, James is more focused

on the value of the fellowship in his experiences. Based on his kind and sincere demeanor

throughout these scenes, he is reflecting moralistic attributes of the American Dream. In another

earlier scene, James also expresses his desire for fellowship when he visits church for the first

time since gaining his sight. Although his specific motivations for going to church are not clear,

his prayerful nature at the beginning of the film hints that James perhaps views his ability to see

as a divine gift and is looking for a communal celebration and acceptance within the church.

However, upon entering the church, he looks disheartened and confused at its plain appearance

and busy building-maintenance staff (00:11:00–00:11:23). The lackluster look of the church and

the staff’s inattention to James’s entrance leave him feeling disappointed in religion and the

missing fellowship that religion often offers its parishioners. This experience contributes toward

James’s changing values as he begins to feel disillusioned with his current moral beliefs. Indeed,

as the film proceeds, his actions and views become increasingly materialistic and forsake the

Dream’s moralistic values; this change leads to his social and psychological downfall.

Soon after these aforementioned scenes, The Ticket starts portraying James’s transition to

more materialistic concerns. For example, James and Sam share a tender moment where James

professes, “We’re gonna have a better life now.” When Sam answers, “We already do.” James

elaborates stating, “Not just my eyes. Everything.” After Sam maintains her contentment for

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their current situation, James continues and disregards her further protestations. Instead, he states

his ambitions that include a “promotion,” “vacation,” and “bigger house.” As a way to persuade

Sam, he also mentions “shopping.” They both chuckle at this point, and while she continues to

be physically affectionate toward him, he starts to look pensively into the distance. His focus, at

this point, is less the loving relationship between him and Sam and more the materialistic

ambitions of “a better life” (00:14:36–00:16:16). This scene particularly represents his transition

toward more materialistic aspects of the American Dream. His newfound drive for power and

status through material goods are direct representations of the materialistic myth. His lack of

active reciprocation toward his wife’s romantic advances at the end of their conversation also

represents his shift toward his preoccupation with his ambition.

His experiences at work also show his transition toward more materialistic values. When

James first returns to his telemarketing job at a real estate company, he dresses shabbily and has

unstyled hair and a slightly stooped posture. This appearance stands in sharp contrast to his

colleagues and managers who have a more confident demeanor and are stylishly dressed. The

film introduces these colleagues and managers as James waits by the elevator bank. During this

scene, they ignore his presence while James is highly alert to their more assertive and

glamourous bearing (00:16:45–00:17:09). James’s attentiveness during this scene hints at his

growing ambition in that it emphasizes that he is aware and taking measure of his more

successful colleagues.

This attentiveness continues as he sits at his work station, making calls to potential

clients. He looks annoyed and defeated as the people disconnect his calls while he is

mid-sentence. He also continues to study those around him, especially his managers as if he is

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calculating a way to rise above his current telemarketer position (00:17:22–00:17:32). His

observations reflect materialistic aspects of the American Dream in that they suggest his

discontent with his current position and his desire for a better job. Furthermore, the film’s

introduction of Bob serves to influence James further toward values that align with the American

Dream’s materialistic myth. (Bob is James’s friend and coworker who is blind and who initially

told James the story of the man praying to win the lottery.) Bob complains to James about one of

the managers and expresses his disbelief at the manager’s quick ascension in his job position:

“Can you believe this? Really? When that guy was sitting at this desk, he didn’t move a single

house. I’ve been here longer. I’ve put many more houses on the board. Why is he the boss? No,

seriously, a simple question. When that guy was sitting here, he didn’t do squat. Okay?”

(00:17:33–00:17:54). Bob’s criticism shows his contempt for a person who achieved a

higher-status job without working hard for it, and, according to Fisher, such criticism can be a

consequence of following materialistic aspects of the American Dream (161).

James’s reaction to Bob is one of concerned shock. He stares at Bob slightly

open-mouthed and perturbed, and James stops Bob from continuing his criticism when he

realizes that the manager might be noticing. Once the manager does pass by, Bob changes his

tone and exclaims cheerily to his boss, “You’re doing a great job!” (00:18:14–00:18:26). This

exchange portrays an insincerity in Bob’s actions. However, it can be argued that his pleasant

demeaner to his supervisor—despite his true feelings—is his way of ingratiating himself. Indeed,

as Fisher noted, “‘playing the game’” is a feature of people who adhere to the American Dream’s

materialistic myth (161). As a whole, this scene focuses on Bob’s complaints and attitude that

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strongly align with the materialistic myth, and Bob’s behavior is an additional influence on

James’s shift to more materialistic concerns.

With these observations and influences set, James’s actions become more ambitious and

self-centered. For example, when James goes on vacation with his family, he begins to neaten his

appearance (e.g., styling his hair and adjusting his collar) and goes to the hotel’s bar alone when

he finds his family asleep for the night (00:19:24–00:20:40). In a flirtatious encounter with a

woman at the bar, James admits that he “[doesn’t] do much of anything” (00:21:06–00:21:44).

This statement reflects James’s lack of ambition up toward this point and particularly

exemplifies his previous lack of adherence to the American Dream’s materialistic myth.

However, his subsequent actions signal a change. After noticing their mutual flirtation, James

tells her he is married with a family and turns to leave, but he abruptly changes his mind and asks

her to dance. As they slow dance, James looks slightly astonished (00:21:54–00:23:27); it is as if

he is calculating what he had missed because of his previous lack of ambition and what he can

currently gain with more drive.

In the next few scenes, the audience can see James’s new drive. For instance, James goes

through his house removing it of its accessibility features, such as Braille labels on jars, arm rails

along the walls or doors, a talking watch, and walking canes. He places these items in the trash

outside (00:24:06–00:24:42). His work as a telemarketer becomes more driven and assertive as

well, and audiences can see a change in the way he addresses the people to whom he makes

unsolicited calls. For example, his pitch drastically changes in delivery and content. In his

original calls, he was soft and gentle in tone, introducing himself and providing background

information before providing the pitch: “Hello, my name is James Harvey, and I’m calling for

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Mr. Abbott—Mr. Abbot, I’m calling from Millennium Realty. We’re having a special buy-out

program in your neighborhood” (00:24:50–00:25:03). During these calls, the people would often

hang up on him. However, his changed sales pitch is more direct, self-confident, and aggressive:

Mr. Umberto, it’s James Harvey, Millennium Realty. Yes, I wanted to call and let you

know that in the next few months about a dozen houses in your neighborhood are gonna

be foreclosed. And once the bank forecloses those houses, the overall property value for

the block goes down. Pretty soon what you had, what you have now, isn’t worth much.

So, I’m calling you today with an offer. It’s not going to knock you off your feet, but it’s

fair. It’s fair, and it will help you find another place to live. So, let’s start by doing

this—Can you write a number down? I’m gonna give you my personal number. This is

not a company extension. I’m not calling you from India. You can call me anytime. I’ll

be with you through this process. I’m your point man; I’m your guy. Now, the only

question that remains, Mr. Umberto, is do you have a pen? (00:25:22–00:26:16)

This call is successful, and James goes to his manager with the closed deal. While listening to

James’s successful call, the audience also sees James’s efforts with changing his appearance. He

buys expensive suits, paying for them with two credit cards, and he uses the treadmill. At work,

his posture is straighter, his hair is styled, and his walk is more confident (00:25:27–00:26:39).

Through this montage of scenes, James is fully embracing his ambitions, which are a key aspect

of the American Dream’s materialistic myth. In particular, his change in appearance, physical

demeanor, and work strategies suggest a person who is determined to gain success and prestige

in his employment, and these changes symbolize his transition to values inherent in the

materialistic myth.

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However, as Fisher warned in his examination of the American Dream’s myths, James’s

newfound confidence and assertive demeanor is not taken enthusiastically by everyone. For

example, at a dinner with James and his family, Bob mentions James’s “new-found work ethic”

and describes James as “the star of the office.” When Jonah asks James about the number of his

successful deals, James answers with “not enough,” and Bob and Jonah continue to goad James

about it. When James answers with “about three,” Bob looks surprised and slightly affronted,

and he and Jonah continue to push James on his exact number of deals. James looks

uncomfortable and annoyed, and when Sam comes into the room, James takes that moment to

change the conversation by asking his wife to sit down and eat dessert with them

(00:27:41–00:28:27).

This scene portrays some of the attributes and consequences of the American Dream’s

materialistic myth. James’s “new-found work ethic” and his label as “star of the office” reflect

the ambitious drive that is inherent in this myth. Bob’s apparent bitterness toward James’s

success, and James’s subsequent discomfort with the conversation also reflect part of the

consequences of this myth. Certainly, as Fisher explained, “The myth is suspect with those who

have abided by its values but were troubled by the avarice, resentment, envy, and vindictiveness

that often accompany its manifestation in real life situations” (161). In this scene, Bob’s hostility

toward James portrays this particular downside of following the American Dream’s materialistic

myth.

This downside is further exemplified in a later scene in the film when a female colleague

within the company’s leadership—Jessica (played by Kerry Bishé)—expresses a begrudging awe

of his success. When James asks her to lunch to discuss company concerns, she calls James

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“golden boy,” mentions his promotion, and then tells him “don’t let it go to your head”

(00:35:19–00:36:24). Although James will form an intimate relationship with Jessica later in the

film, this scene is an additional example of the consequences of strongly adhering to the

American Dream’s materialistic myth. In particular, this scene shows that James’s ambitions are

getting him noticed and are perhaps giving him an unfavorable reputation as a person who has

quickly elevated in status among his coworkers.

The film also shows how adhering too ardently to the materialistic myth is negatively

affecting his relationship with his wife. When James and Sam are by themselves cleaning up

after their dinner with Bob, James takes his wife quietly aside, shows her his new car, and tells

her that he “got the promotion.” When Sam asks if his employers are aware that he does not

know how to drive, James responds resolutely, “I’m gonna learn.” Although Sam is proud of

James’s promotion, she also expresses that it might be dangerous for him to drive due to the

unknown stability of his eyesight. Her reaction frustrates James and causes him to ask her,

“What do you want me to do? You want me to sit and wait? You should be happy.” James argues

that her hesitancy is due to her desire for “control,” and he becomes more frustrated as the scene

continues. However, James’s wife denies trying to assert power in the relationship and is

confused and affronted by his accusation (00:28:30–00:30:13).

This interaction contributes to the film’s illustration of James’s increasing adherence to

the materialistic myth. In particular, his ambition has led to a promotion with a new car—a

material reward that he cannot yet enjoy because he does not know how to drive. However, his

determination to learn further shows his dedication for achieving and continuing to achieve his

goals. In addition, his feelings of frustration regarding his belief that his wife is trying to control

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him also aligns with the consequences of strongly adhering to the materialistic myth. Indeed,

Fisher explained that followers of this myth value a “freedom from controls, regulations or

constraints that hinder the individual’s striving for ascendancy in the social-economic hierarchy

of society” (161). Because James views Sam as trying to prevent his freedom and goals, he

becomes upset, and in turn, Sam becomes upset with James’s accusations and change in

character.

After feeling powerless and unappreciated in this situation, James asserts his power in the

next scene when he goes to the principle of his son’s school to declare that Jonah is not at fault

for fighting and should not be disciplined for it (00:30:47–00:31:36). After the meeting, James

takes Jonah out of school, and they spend time looking at aquatic life in a lake; in this scene,

James continues to align with the materialistic myth. James tells Jonah that he could attend

private school instead and not to “worry” about the expense. When his son mentions that a

private school could have bullies too, James responds with “at least the bullies there will be

better dressed” (00:32:59–00:33:27). This exchange shows James’s obsessive focus with the

material. When his son expresses concern with bullying, James’s attention is on the status and

privilege of attending a private school as opposed to dealing with the possible emotional

concerns. When Jonah mentions that he will “tough it out” and stay at his current school, James

and Jonah share a playful moment (00:33:30–00:33:51). The carefree and lively way that James

responds to Jonah’s willingness to “tough it out” may symbolize James’s appreciation and pride

for Jonah’s perseverance—a trait typical of the materialistic myth.

James’s appreciation and pride are soon diminished when, in a later scene, he takes Sam

to an upscale restaurant, and Sam expresses her discomfort with the restaurant and her anger with

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James for taking Jonah out of school for the day. When she tells James that she notified the

school “to give [Jonah] detention,” James becomes angry because he feels that she undermined

his handling of the situation. He further voices his frustration that she kept him unaware of

Jonah’s fights at school, and he indignantly states, “Well, now I know,” as a way to assert that he

is gaining some command in the relationship and his knowledge of others. After this

disagreement, they then go dancing as a way to lighten the situation, but it is clear from their

stilted and wearied body language that they are irritated by one another (00:36:24–00:38:21).

More specifically, James’s ambition at work and feelings of powerlessness in his relationship

with Sam as well as Sam’s desire to control and keep things the same have caused a change in

their loving relationship and have resulted in expressions of animosity toward one another. This

animosity continues when James states that he feels their relationship was based more on the fact

that she “pitied” him (00:42:01–00:43:34). This belief adds to James’s feelings of inadequacy

and powerlessness in the relationship—feelings that do not fit his new ambitious outlook—and

the relationship dissolves soon after. Later on in the film, James begins a relationship with his

colleague, Jessica, who supports and helps him actualize his ambitions; through this relationship,

the film implies that he found someone who fits his new outlook and similarly adheres to the

materialistic tenets of the American Dream.

Throughout these scenes, James’s interactions with others show his growing

empowerment, but they also set the stage for his increasingly ruthless ambitions that forsake the

values inherent in the moralistic myth. For example, James promotes an idea to company

leadership that involves using a trusted community institution—such as a church—to provide

advisory seminars; however, these seminars would be a cover for their main objective, which is

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getting people to sell their homes to the company. He explains that using a church would be a

way to appear more community-centered and help them gain the people’s trust

(00:38:35–00:39:26). James’s plan represents his acceptance and pursuit of the material and his

rejection of the moral. His strategy to prey on people’s trust in the community as a way to take

advantage of their financial debt shows his lack of moral regard for others. From a moral

standpoint, such actions are disreputable as they disregard the fellowship and humanity within

the community. In fact, his actions completely forsake the American Dream’s moralistic

principles of “sustain[ing] the continuing endeavors to invest all public institutions with

guarantees that all men will be treated equally and, in addition, serve to inspire cooperative

efforts to benefit those who are less fortunate than others” (Fisher 162).

His actions at the community seminar further exemplify his disregard for these principles.

In order to appear more sympathetic and trustworthy, James tells a church leader that Bob will

run the meetings. However, after James sees that Bob is taking a gentle approach and is not

aggressively pushing the company’s agenda, James then takes control of the meeting and tells

the story of the man who prayed to win the lottery even though he never took the initiative to

purchase a ticket. This story, which was introduced at the beginning of the film, now takes on a

new meaning and purpose. At the beginning of the film, James took this story as a funny joke

that also reminded him about the value of thoughtful prayer. However, at this point in The Ticket,

James is no longer prayerful, and he emphasizes to the attendees the story’s message of

perseverance and initiative to achieve success in life. In his impassioned speech, James argues

that part of the problem with debt is that “we don’t have the guts to take action. To get out of

debt. To sell that car. To move to a smaller house. To get that ticket.” He subsequently argues

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that the bank has no regard for the people’s financial troubles, basically implying that people

must rely upon themselves to overcome their struggles (00:49:24–00:53:40). Via his speech,

James argues for the materialistic myth of the American Dream: self-initiative for success.

Although his speech may be motivational to many, James withholds from the attendees that his

motivation is to take their money for his own (i.e., his company’s) gain. With his self-serving

actions and motivations in mind, James’s adherence to the materialistic myth is dishonorable

because he disregards the moralistic attributes of charity and brotherhood.

This demonstration of James’s ardent adherence to the materialistic myth negatively

affects his relationship with Bob. Although Bob was promoted in order to help James with these

meetings, Bob is not happy with James’s overall actions and change in values. For example, Bob

expresses his disappointment in James for leaving Sam for Jessica. Additionally, in regard to the

story about the man and the lottery ticket, Bob tells James that he is misguided in his

understanding and application of the story: “You missed the point of the story,” Bob states.

“Yeah, yeah, you never got a ticket. You had one handed to you. You had a ticket handed to

you.” During this exchange, James expresses his astonishment with Bob’s disdain because, in

James’s view, Bob was unhappy and complained about his inability to advance in his job. James

views Bob as being “jealous,” and he ends the discussion frustrated and angry

(00:53:44–00:56:41).

In this scene, the two myths of the American Dream intersect and compete to show the

detriments of adhering to one while disdaining the other. On one hand, Bob adheres to the

materialistic myth of the American Dream because he does admit to wanting, at some point, to

rise from his station at his job. In addition, Bob does not view James as worthy of his

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achievements because, in Bob’s view, James did not work hard to get them. These views reflect

aspects of the materialistic myth, such as the importance of ambition, perseverance, and working

hard. However, Bob has his limits with adhering to these values because he expresses

disapproval of James leaving his family. In this way, he holds the desire for wealth and power

but not at the chance of losing his morality—in this case, family values. In short, Bob, although

not perfect, balances aspects of the materialistic and moralistic myths.

However, James does not exhibit such a balance. During this conversation, James

expresses values that align with the materialistic myth. He believes Bob is envious of his

accomplishments, and he resents Bob’s attitude toward him. James defends his actions by

describing himself as “human” and arguing that Bob would “have done the same thing if [he]

had the chance” (00:55:01–00:56:24). However, despite James’s defense, his lack of acceptance

that his recent actions are immoral shows how invested he is in his materialistic ambitions.

James’s anger at Bob is, in part, his resentment toward Bob for guilting him for his behavior.

Bob’s actions are a moralistic strategy—an “appeal … to [his] better nature” (Fisher 162).

However, James’s self-centered focus and lack of regret for his actions are too strongly focused

on a materialistic perspective, and his lack of balancing the two myths fractures the friendship.

This dissolution symbolizes a downside of adhering so ardently to the materialistic myth of the

American Dream. Through James’s self-centered ambition and Bob’s disdain for James’s

behavior and possible envy of James’s success, the fellowship between the two is severed. In

fact, in The Ticket’s later scenes, Bob tries to sabotage James and the company when he

distributes leaflets that expose the seminars as fraudulent. This action leads to an argument

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between the two in which it is clear that the relationship is completely broken due to their

differing views, values, and experiences (00:58:32–00:59:30).

During this time, James’s moral values continue to erode, and he then begins to

experience brief moments of vision loss that send him into a panic. As these experiences increase

in number, James begins to act more contemplative and remorseful of his recent changes.

Through his reoccurring vision loss, he is reminded of his once pious nature and begins to feel

that his increasing loss of vision is perhaps a divine punishment for his ruthlessly ambitious

behavior. The film hints at his remorse in a few ways. In one scene, when James drops off an

envelope at the church where he holds the seminars, he looks weary and dejected as he overhears

people praying (01:08:43–01:09:39). In another scene, his turmoil with balancing the two myths

is made especially present when a woman from one of his seminars approaches him for more

information on selling her home. James now appears regretful for his idea to prey on the people’s

trust. Seeing the young woman and her child desperate for money and willing to sell their home

makes him realize how underhanded and inconsiderate his sales plan is. Although he gives the

woman his contact information, he does not give her another sales pitch and instead asks her to

consider her options first (01:01:45–01:02:40). In this scene, his remorse is evident in his

hesitancy and flustered actions; he is becoming more conscious of his moralistic values, which

negatively affect his materialistic ambitions. Indeed, as these scenes show, he begins to

experience turmoil and distress as his moralistic and materialistic values begin to battle within

him. This battle is a common feature of the American Dream ideology. According to Fisher, the

dual American Dream myths are so entrenched within American society that it is nearly

impossible to forsake one aspect completely: “When one of the myths tends to dominate,

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whether in the culture or in an individual, the other myth is always hauntingly there in the

background” (163). James’s turmoil with reconciling his behaviors through both myths

exemplifies the dual myths’ constant presence within him.

As his vision continues to decline, his instability in his sense of self increases. Indeed, he

is at war with himself. He is unable to reconcile his guilt for his recent actions with his desire to

continue his ambitions. His inability to find a balance between the two leads him to a sense of

loss in multiple ways, and his declining vision symbolizes these losses: Not only is he losing his

vision, he is also losing his sense of identity and his sense of belonging and fellowship. By

adhering so ardently to the materialistic myth, James first loses his family life, including a loving

relationship with his wife. Then, he loses a close friendship as his behaviors and success garner

both disdain and resentment from Bob. Then, as he continues to lose his vision, he subsequently

feels guilt for his behavior, which has a ripple effect on his ability to continue his job influencing

people to sell their homes. He also pushes away his new girlfriend, Jessica. When he confides in

Jessica that he is losing his eyesight, Jessica expresses her concern, but he rebuffs her, stating “I

don’t need your help” and “I can fix this” as if he is still trying to hold on to the ambitious drive

that catapulted him to material success in the first place. However, his subsequent seminars are

failures as he stumbles through his pitch and fails to persuade the attendees. Consequently,

another colleague is assigned to the seminars, which further distresses James as he feels that he is

losing an important job assignment (01:18:26–01:21:13).

With his relationships deteriorating and his job position at risk, he turns back to God in

his despair, saying his old prayers intensely while having an apparent panic attack, but his

prayers appear more desperate and lost than devout (01:21:18–01:23:50). Taken together, his

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loss of vision, relationships, job status, and connection to God lead him to a mental breakdown.

Through this mental breakdown, he exhibits a complete disassociation with society; that is, he

suffers an identity crisis from his conflicting values, and he loses his sense of belonging in the

world when he feels rejected by those whom he once felt comforted.

The ending scenes particularly symbolize his disassociation. In his frantic state, he first

turns to Bob, who punches him and disparages his behavior (01:24:05–01:26:17). As a final

effort to find solace with his estranged wife, James drives to his former home. However, as he

drives, he finds that his vision is getting increasingly limited, so he walks slowly toward his

former home. Once there, Sam rejects him as well (01:26:20–01:30:10). He then wanders into

the nearby wilderness—completely alone. The audience experiences his isolation as the screen

becomes dark with only the overpowering sounds of nature coupled with his footfalls and deep

breaths as signs of his existence (01:30:11–01:31:10). The complete darkness is unnerving and

serves to emphasize James’s complete separation from society. This isolation symbolizes his

conflict with balancing both American Dream myths. James’s conflict with the two myths results

in his complete social, psychological, religious, and physical isolation. Indeed, as Fisher argued,

“Without dreams or myths, a man or nation is without a past, present, or future” (161). In the last

scene of The Ticket, James is this man: His past identity and sense of belonging that was rooted

in a moral, pious, and content family life is lost; his present ambitious identity and status at his

job is declining; and his future self is unknown as he has lost the possibilities of re-attaining the

relationships and responsibilities that have previously fulfilled and fueled him.

However, despite his rejection and isolation, the film has an open-ended conclusion. As

James and the audience are immersed in darkness and isolation, both can hear someone

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approaching James with soothing hushes (01:31:12–01:31:40). Although unclear to the audience

(and perhaps to James as well), this mysterious presence may symbolize a rebirth for

James—that is, a reacceptance to society. Whether the presence is Sam, Jonah, Bob, Jessica, a

guardian angel, or a complete stranger, the comforting hushes leave the audience with some hope

that James may find redemption and reacceptance to his former life. This ending leaves the

audience with the message that the American Dream may be unstable, but it is not completely

lost to James and those who fail to balance the dual myths.

Altogether, The Ticket serves as a contemporary American parable—one that emphasizes

the dangers of forsaking the totality of the American Dream. Although the film ends

ambiguously, the lesson is clear: Do not adhere too ardently to materialistic values, for the

imbalance and lack of morals will lead to self-destruction. In this way, the film shows the

destructive aspects of the American Dream while also maintaining the Dream’s dominance and

perseverance within United States society.

Although an independent film, The Ticket’s overall message coincides, in part, with other

more mainstream films that address the American Dream. For example, similar to Winn’s

arguments regarding popular Hollywood films’ portrayals of the American Dream, The Ticket

also emphasizes the American Dream’s significance as a dominant national ideology and stresses

the personal onus of negotiating the American Dream within one’s life. Indeed, The Ticket

perpetuates the importance of adhering to the American Dream by showing the destructive

consequences of not fully embracing both of its myths. However, the film also offers a critique

of the American Dream by revealing the faults behind it, such as the isolation and rejection that

may result when not fully balancing the Dream’s materialistic and moralistic myths. That is, the

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film’s emphasis on the consequences of excessively materialistic values reinforces the

importance of integrating morality when pursuing one’s goals.

Despite The Ticket’s ambiguous conclusion, the devastation James experiences by the

end of the film leaves the audience unsettled and reflective. In particular, the film allows the

audience to contemplate the influence of the American Dream on one’s sense of identity and

placement within society. Therefore, The Ticket, along with other films that address the

American Dream, can play a crucial role in broadening the audience’s understanding and

awareness of the ways certain ideologies influence individuals and society at large.

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Works Cited

Fisher, Walter R. “Reaffirmation and Subversion of the American Dream.” Quarterly Journal of

Speech, vol. 59, no. 2, 1973, pp. 160–167. doi:10.1080/00335637309383164

The Ticket. Directed by Ido Fluk, performance by Dan Stevens, Shout! Factory, 2016.

Winn, J. Emmett. The American Dream and Contemporary Hollywood Cinema. Continuum,

2007.