I assume that anyone who checks out AWAV even occasionally and is cinematically inclined has seen this movie by now, or at least heard about it. If one has not, it is the cinematic event of the summer (I am not including here ‘Guardians of the Galaxy’ or ‘Dawn of the Planet of the Apes’, that I have not seen and have absolutely no plans to). Richard Linklater’s ‘Boyhood’ is an absolute must. The reviews have been stellar on both sides of the Atlantic: a perfect 100 score on Metacritic—c’est du jamais vu—and a 4.0 on Allociné (and with the spectateurs ranking average a 4.3, which corresponds to very good to excellent). This bit from Chicago Sun-Times critic Richard Roeper’s review sums up the pic
Richard Linklater’s “Boyhood” is a film that captures the arc of a young life perhaps better than any previous American movie. Ever. Once in a great while I see a movie I know I’ll be listing as one of my all-time favorites for the rest of my days. So it is with this remarkable, unforgettable, elegant epic that is about one family — and millions of families. It’s a pinpoint-specific and yet universal story.
You may have heard about Linklater’s audacious tightrope walk of an experiment. “Boyhood” was filmed in 39 days over the course of 12 years [2001-2013] with the same core cast. The actors playing the young children at the beginning of the film are the same actors playing those characters as adolescents and young adults. The result is a living time capsule so pitch-perfect, the experience of watching it is almost unsettling.
No movie like this has ever been made, needless to say. It was a totally original idea on Linklater’s part and a risky one, as, entre autres, no contracts could be signed with the cast for such an open-ended commitment and one could not be sure what kind of older child, and then teenager, the central character, Mason Jr (Ellar Coltrane)—who began the film at age six—, would turn out to be (and if he would want to continue with the project). But Linklater and the cast pulled it off. There were no dull moments or scenes that dragged on too long, which is saying something for a 2 hour 45 minute film with no plot to speak of. The acting is first-rate—the casting is impeccable—and one cares about the characters and relates to their conversations and interactions (I did, at least). E.g. the father-son dynamics—between Mason Sr (Ethan Hawke) and Jr—were on the money, as was the discussion in the restaurant Mason Sr initiated with the kids, now in their early teens, about the facts of life (Mason Jr’s older sister, Samantha, was played by Linklater’s daughter, Lorelei). A lot of this rang true. And I loved the scenes about politics, e.g. the one during the 2008 presidential campaign (the lawn signs), plus the one where Mason Sr takes the kids to meet the parents of his second-wife-to-be somewhere in rural Texas. Linklater, who hails from Austin, did something quite singular in the film—for me, at least—, which was to present Texas in a positive light, as a fine place to be a kid and grow up in (I have a lifelong prejudice against Texas—a state in which I have admittedly spent practically no time at all—but, being an open-minded person, am striving to overcome). And it’s as good a film as one will see about the resilience of kids growing up with divorced parents who love them but have their dysfunctionalities—here, a working mother trying to get ahead but who serially falls for men who are jerks—and whose jerkiness directly affects the kids—, a father who’s cool but irresponsible. When I left the theater I called the film a chef d’œuvre, definitely one of the best of the year, and announced it on social media.
But upon reflection the following day, I began to see a few small flaws… E.g.—spoiler alert! if you haven’t seen the pic, skip to the next paragraph—, there is a problem with the parcours of the mother, Olivia (Patricia Arquette), who goes back to school to finish her B.A.—when Mason Jr is six or seven—and then gets a Master’s degree (there is no mention of a Ph.D.), all in six or seven years, which would have been tough to do full-time while raising two kids and having to work (she was only married to the jerk alcoholic prof—who would have supported her financially—for two or three years), and then landing a job at Texas State University in San Marcos (not specifically named but that’s what it is), which, one supposes, would have required a Ph.D. in hand or nearly one. But if she were an adjunct with merely an M.A., she wouldn’t have made nearly enough to provide even for herself, let alone her kids. And at one point she mentioned a sabbatical year, which, in fact, wouldn’t have made sense even if she were a full-time assistant professor, not at that early stage in her career. This all seemed implausible and I ran it by some academics—who all loved the film—on a social media comments thread, and the consensus was that I was right, that Linklater got the higher education part of the story wrong (I also thought—and this is admittedly a minor detail—that a bright, free spirit high school senior like Mason Jr would have aimed higher for college than UT-El Paso…). Another point, this one mentioned by a family member who saw the film with me: There was no indication that Mason Sr was paying alimony to support his kids while they were growing up. He had no legal obligation to provide for them—and didn’t for much of their childhood. But at the parents’ divorce hearing—prior to the film—the judge would have presumably imposed alimony on the father. A couple of friends also had a problem with the Latino-waiter-in-restaurant scene, which struck them as false (it didn’t bother me), plus Olivia’s relationship with the Iraqi war vet (which I didn’t think was a problem, though one did wonder what she saw in the douchebag…).
But none of these quibbles detracts from the film’s overall quality. All that my next day reflections caused me to do was downgrade the pic from a masterpiece to merely excellent. I simply loved this movie. It is one of the best coming of age films ever made, and certainly about coming of age in America. And the soundtrack is great (this song—from my late teen years—played over and over in my head over the subsequent days). So thumbs way up! If you haven’t seen it, do so. Trailer is here.
As it happens, this was the first film I’d ever seen by Richard Linklater. I like to think of myself as knowledgeable about cinema but there are gaps—some yawning—in this knowledge. In the case of Linklater, not only had I seen nothing of his before ‘Boyhood’ but knew practically nothing about him. And, as I learned over the past couple of weeks, various stateside friends and family members were not only familiar with Linklater’s œuvre but fans of it. I had no idea. In my defense, I have the excuse of having lived in France for the past two decades, where, as Le Monde film critic Thomas Sotinel informed the reader in the July 26th issue, Linklater’s films have been underexposed and (unjustifiably) underappreciated. So being in the US at the present time—and thanks to Netflix—I decided to fill my Linklater gap, starting with his “Before” trilogy—’Before Sunrise’ (1995), ‘Before Sunset’ (2004), and ‘Before Midnight’ (2013)—, which follows the love affair of the French Céline (Julie Delpy) and American Jesse (Ethan Hawke), who—in ‘Sunrise’—meet in their early 20s on the Budapest-Vienna train, are immediately attracted to one another—particularly he to her (and she is indeed quite attractive)—, spend some 18 hours together wandering the streets of Vienna and talking—and talking and talking—, during which time they develop sentiments, but their paths have to part; jump to nine years later—and ‘Sunset’—, they fortuitously reconnect in Paris—he’s an up-and-coming novelist, she an aspiring NGO écolo activist—, the spark is still there, they walk the streets, parks, and riverbanks of the 5th arrondissement and talk—and talk and talk and talk—for a couple of hours before a fateful decision is made (implied at the end of the film); jump nine years—and ‘Midnight’—, they’re now in their early 40s and cohabiting (in Paris) with twin daughters—he has a 12-year-old son from divorced American wife—, and are on a marvelous-looking vacation in Greece (southern Peloponnese), where, over the course of a day, they talk and talk and talk, take stock of their relationship and where it goes from here, and have a scène de ménage. Three short days of an eighteen year romance compressed into three films of less than five hours total. An interesting idea and very Linklater.
I saw the three within a week and cannot imagine how one could have gone nine years between each—during which time one would have possibly forgotten details and/or lost interest—, or seen the last one but not the first two (which was apparently the case for a certain number of movie-goers). The three films really need to be seen in sequence and within a relatively short period of time, or else the trilogy doesn’t make total sense. Or, to put it another way, it all comes together in the third film. I was not immediately taken with the first two, though decided to reserve judgment until seeing the third. Céline and Jesse are interesting characters—Delpy and Hawke, who wrote the script with Linklater, are fine actors—and good looking. The kind of people one wants to be friends with. They love to talk, about the meaning of life and just about everything. They have so much to say to one another. The trilogy is one big talk fest. I was initially not convinced by some of the dialogue and situations, which I thought did not ring true, but, upon reflection, revised my view. There are countless permutations of how the partners of a couple interact with one another and what can transpire in their relationship. Every couple is unique. So, sure, the dynamics between Céline and Jesse were real for them. And for others. E.g. a friend of mine—and who is one of the most interesting conversationalists one will ever meet—told me that he strongly identified with the Céline-Jesse couple and their talking (my friend is of the same general Gen X age as Delpy and Hawke and saw each film when it came out). And then my mother told me that Céline and Jesse’s gabfest reminded her of how she and my father were when they met in their early 20s some six decades back (which I can absolutely, totally believe; and it didn’t end in their 20s, believe me). (Pour l’info, I like to talk too, though maybe not about the same things as Céline & Jesse.) So, yes, I will finally give the trilogy the thumbs up. It’s extremely well-written—the script was long and complex—and, as mentioned above, very well acted. And there are scenes in ‘Midnight’ that rang so true, e.g. the parting scene of Jesse and his son at the airport and, above all, the very last one, in the seaside restaurant, with Jesse and Céline.
On the complexity of the script and shooting the movie—where Delpy and Hawke had to get it right in the first take—, one learns in an NYT Magazine profile of Delpy last year that the nine-year lag between the films was not planned; Linklater, Hawke, and Delpy were so exhausted after making the first two that they “needed nine years to recover”…
I’ve seen a couple of other Linklater films of late, which I’ll post on separately.
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