When Florian Zeller first adapted one of his works for the screen, the result was one of the most extraordinary cinematic representations of aging. In The fathermovingly and terrifyingly placed the audience inside the head of a man succumbing to dementia, with reality constantly changing in ways that neither he nor the audience can follow. Son is another adaptation of a play by Zeller (Mother, yet to be adapted, completes this scenic trilogy). It’s another heartwarming story, even if the sympathy is more built into its premise than through the narrative. It’s a solidly told and well-acted family story, but without the noticeable mishmash of The father.
Hugh Jackman reminds everyone what a strong dramatic actor he is, in his strongest role in years. He plays Peter, a successful Manhattan lawyer who has a new wife, Beth (Vanessa Kirby), and a new son. His first wife, Kate (Laura Dern), whom he left for Beth, and his teenage son Nicholas (Zen McGrath) keep him from moving on. Nicholas has terrible mental health problems, can’t cope with school and always feels sad. He asks to come and live with his father. They both expect me to fix everything, but Nicholas’ health is steadily declining.
There are some great scenes between Peter and Nicholas as they try to figure each other out, and a brief appearance by Peter’s father (Anthony Hopkins, who walks away with the entire film) provides an interesting setting for Peter’s point of view on his son. . Much of it, however, is played in a curiously melodramatic tone. It’s not quite theatrical, but there is a hint of artifice. Zeller pushes hard in emotional moments to extract maximum pain, but proves more maddening than heartbreaking.
He’s a little too shy, but the further the film goes on, the more it seems that this artifice could be a deliberate choice.
Nicholas is good at small talk, expressing his torment in long, heartfelt monologues that don’t sound spontaneous. Characters often act as they should to advance the plot, rather than how they believably would. Beth, who has only been nice to Nicholas, suddenly yells terrible things at him in a small apartment where she obviously will be heard. Peter and Kate, wealthy Manhattanites, are remarkably misinformed about therapy. He is too shy, but the further the film progresses, and rather continues, the more it seems that this artifice may be a deliberate choice, to make the whole world dishonest and uncomfortable as Nicholas sees it.
The smartest part is how Zeller lets the ending hang over you like a curse. The seeds of where the film could go are sown early on, but the film silently suggests many ways to make them happen. When the end comes, it’s both shocking and terribly obvious. It’s a shame Zeller didn’t leave it to its own devices instead of adding a syrupy tail. Like much of this film, it could have been more effective with a little restraint.
Source: EmpireOnline
Rose James is a Gossipify movie and series reviewer known for her in-depth analysis and unique perspective on the latest releases. With a background in film studies, she provides engaging and informative reviews, and keeps readers up to date with industry trends and emerging talents.
