Richard Linklater’s BOYHOOD is a film which was shot over a
period of 12 years with the same cast. What this ultimately boils down to is
that the main character, played by Ellar Coltrane, is literally six years old
when the movie begins, and 18 years old when it ends…and we get to see him in various
stages of growth and maturation in-between those two points. It is a unique and
ambitious approach to storytelling which could easily become a gimmick if not
handled correctly. Such is the challenge for BOYHOOD.
BOYHOOD covers 12 years of the life of Mason (Coltrane), as
he grows up with his big sister Samantha (Lorelei Linklater), and his divorced
parents (Patricia Arquette and Ethan Hawke).
Classic at its core, BOYHOOD is the story of one person’s
journey. Specifically, the journey from boy to man. Everything in a young man’s
life before being considered an adult is covered; from dealing with warring
parents, first loves, first heartbreaks, important father-to-son talks,
learning to let things go and everything else. The storytelling is a little
episodic in nature, but it is effective because as time (literally) passes, we
can see threads from Mason’s earlier years rise up again as he gets older. This
is certainly Mason’s story, and by the third act of the film we can certainly
understand why he is the person that he has become, because we have followed
him along the way. As far as one character’s story goes, BOYHOOD offers the
most developed character we may have ever seen. There is a tremendous sense of
realism at all times…as the little things that kids and teens do are perfectly
captured. There is certainly a lot that everyone
can relate to in this film.
Richard Linklater doesn’t seem to intrude much on the
proceedings. Things have a very natural flow, and it is often easy to forget that
we’re watching a scripted movie and not a reality TV shot. It helps that the
cast is very talented and seemingly committed to their works. The leaps-ahead
in time are handled very naturally; there are no placecards or titles that
popup to tell us what year we’re in for reference…characters just leave a room
and walk back in with longer hair, a deeper voice, and a few inches to their
height. It works, because Linklater keeps many threads connected without
breaking…and the characters up-front over any plotting. Some obvious clues are
placed here and there in the form of music, current movies, and current events just
to keep everyone up to speed on the timeline. Some scenes ramble on for an
eternity, which may be a message within itself (don’t all kids think adult
conversations go on forever?), and the film feels very much its hefty running
time. If there is one possible flaw, it is near the end of the film when the
kids are asked to clean out their rooms of old toys for a garage sale, and an
opportunity to bookend the film with a heap of emotion seems to present itself.
The scene never happens on-camera, and it seems like an omission, but maybe
that was the too-obvious thing to do.
Acting is superb. Ellar Coltrane and Lorelei Linklater, in
their very first acting roles, are very convincing and we never doubt their
characters for a second. Ethan Hawke is also very good. As the divorced father
who only sees the kids every now and then, we see the kids’ growth through his
eyes when he pops back into the story (you got so big since last time!).
Patricia Arquette is a little rough in the early goings, but improves greatly
as the movie (and the years) passes by.
The finale doesn’t go for an intentional wallop of emotion
and instead lets things flow naturally for a very strong, and effective wrap.
As long as the film feels, we do feel like we want more…to see where Mason will
end up in another 12 years. BOYHOOD is a film not only about growing up, but
about life itself…nearly told in real-time as it unfolds before our eyes.
BOYHOOD is an example of the true power and magic in cinematic storytelling.
BOTTOM LINE: See it
No comments:
Post a Comment
A few rules:
1. Personal attacks not tolerated.
2. Haters welcome, if you can justify it.
3. Swearing is goddamn OK.