Stars: Ellar
Coltrane, Patricia Arquette, Ethan Hawke, Lorelai Linklater
Director: Richard
Linklater
Oscar History: 6 nominations/1 win (Best Picture, Director, Supporting Actress-Patricia Arquette*, Supporting Actor-Ethan Hawke, Original Screenplay, Editing)
Snap Judgment
Ranking: 5/5 stars
Great cinema changes our perceptions on how we see the
world. It can make us rethink how
we approach our lives, and how we encounter love, death, mercy, and all of the
capital-letter emotions that define who we are as individuals. Great cinema, however, rarely does this
while challenging how movies are made.
That’s the really remarkable thing that Richard Linklater seems to want
to accomplish with his filmography.
Linklater has, through both this film and the Celine and Jesse movies,
created something truly special-a look in on a narrative tale of people, told
in an exciting, chronological way, and through immense realism (both films took
decades to make), finds a way to connect with the audience in a way that
old-age makeup and different actors never could. Boyhood is a
testament to one man’s extended and devoted vision to a story, and is easily
the first truly vital reason to go to the movies this year.
(Spoilers Ahead) The
project itself seems mammoth. Told
over twelve years, Linklater follows a fictional family through their pitfalls
and heartaches and high-points.
The movie was actually filmed over those twelve years, so we get to see
the subtle ways that the actors age and don’t age. One of the things I’ve always found a bit silly about aging
in the movies is that people rarely change as dramatically as the Rick Bakers
would let you believe. Here we see
the subtlety of, say, Ethan Hawke’s face becoming a bit thinner, a bit more
worn, rather than the larger scale job that another film would have done to
“naturally age” its star. The
realism in this film is one of the clear draws. You feel almost as if you are seeing a documentary, it’s so
astonishing when a scene passes and we have seen our main character of Mason
Jr. (Coltrane) shifting his hairstyle or suddenly sporting an earring or a
slight growth spurt. This makes
even the most mundane of scene shifts thrilling-what year will we find
ourselves in next?
This isn’t the first time that a filmmaker has used
time-specific realism to tell multiple stories. Francois Truffaut would notably use this in his five Antoine
Doinel films, with Jean-Pierre Leaud portraying the director’s most iconic
character in five pictures, going from life as a young boy into a fully-fledged
adult. Linklater, though, takes it
a step further and seems to almost react to Coltrane’s real-life
personalities. You see what
Coltrane looks like and has started to progress into, and you feel like the
story has shifted to reflect that he went through an emo-youth phase, for
example. It’s a deeply reflexive
film, and while Truffaut gave us multiple movies to process Doinel (and
Linklater did with Jesse and Celine), here we receive them all in one
continuous spin.
To get into the plot of the movie would be to make it sound
boring, because life is rarely a series of exciting events (I have been on a Desperate Housewives binge watch at my
apartment, and while I love that film totally, I will admit that it’s
ridiculous in the face of something so utterly realistic, considering that
people rarely get engaged after six-week courtships and the like), but instead
simply trying a first cigarette or a random conversation about painted
fingernails. The performances are
deeply naturalistic. Coltrane and Linklater
grow completely in their characters, and I love the way that their natural
tendencies as both actors and siblings grow throughout the film (there’s a
terrific scene late in the film where Lorelai Linklater’s Samantha subtly
stands up for her brother-in any other film this would have been a “big deal”
but here you hardly notice it). The
professional actors in the cast, led by Hawke and Arquette, both feel very much
like a part of this world and not movie stars in a documentary. You have to hand it to actors who
experienced varied levels of success during this filming process (particularly
Arquette with Medium) to never feel
like they had to miss out on a part of the movie because of scheduling
conflicts or demand more from their roles. It’s a wonderfully acted quartet, and takes the method-style
of acting to a whole new level.
This brings me to something I want to make sure I slip in
somewhere in this review. If I
have one public service announcement for audiences is that it is imperative
that you watch this film on a big-screen and not relegate it to a Netflix
rental. It is expanding more
profusely at the moment (and based on the per-screen averages it’s still
pulling in, hopefully will continue to expand), but this is a movie that you
have to experience without distractions, because you won’t be able to notice
when you pause the movie in your living room the rolling cavalcade of time,
since time is really at the center of this film. You get scene after scene, never really slowing done (it
moves faster than any 166-minute film I’ve ever watched), exhausting you at
some points with how quickly a moment passes (you want to see more of, say,
Mason Jr.’s relationship with his dad or learn more about one of his mother’s
marriages), but always unrelenting down the way to the end.
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