Director/Writer: David Lowery
Starring: Rooney Mara, Casey Affleck, Ben
Foster, Keith Carradine, Rami Malek
Synopsis: After time spent in jail for
murder, Bob (Affleck) sets out across Texas to rejoin his wife Ruth (Mara) and
daughter. What he doesn’t know is that Ruth is being courted by a local police
officer, Patrick (Foster), someone involved in Bob’s own arrest.
The
American South plays such an intrinsic part to the beauty of the country’s art
and cinema. Ever since D. W. Griffith captured the wide-open landscapes of his
home turf, continuing on with the likes of John Ford to Terrence Malick,
filmmakers yearn to photograph its beauty. It is also in these places that
darkness and tradition cements itself; racism is largely rooted in the Deep
South, and the advocating of guns is continually associated with the Red State,
for one. In David Lowery’s Ain’t Them
Bodies Saints pastoralist and perilous circumstance go hand in hand – a mix
that works aesthetically but lacks something bold and defining.
With
a cast that’s made up of some of the best character actors around – Rooney
Mara, Casey Affleck, Ben Foster and Keith Carradine – there’s never an issue
with performance. Affleck and Mara are less energetic than their muses, Bonnie
and Clyde, but better Dunaway and Beatty in terms of dramatic performance.
Affleck has already shown himself in a lyrical Western (The Assassination of Jesse James by the Coward Robert Ford) and
appears completely at ease with the tone Lowery’s going for, as well as the
archaic personality of Bob. That said, Mara and Foster don’t subvert that tone
but seem slightly more grounded in modernity.
The
story feels timeless and the film is very difficult to pinpoint era-wise,
sometimes problematic when trying to decipher the importance of context. Much
like Malick’s work, the ellipsis of various aspects of plot and character
proves difficult in your enjoyment or involvement with the film. There is a
linear narrative, though sharp jumps in timelines are often jarring, throwing
you and the pace of the film completely off.
When
the film is constructed aptly – musically, visually and tonally – it begins to
feel like a contemporary classic. However, it never retains continuity and
perhaps the Bonnie & Clyde
comparison (with the 1967 film very much in the style of the French La Nouvelle
Vague with quick cuts, choppy action and emphasis on the translated word
“vague”) is key in understanding the film – indistinct and peculiar at points.
It is not a wholly kinetic New Wave pastiche, nor is it a sombre modern
Western, leaving it as confused composite. Not so much for writing or
directing, it’s the acting, Daniel Hart’s score, and Bradford Young’s
cinematography that earns the film great credit.
***
Ain’t Them Bodies Saints was competing in Semaine de la Critique [Critic's Week] at Cannes 2013. Also posted on LiveForFilms
No comments:
Post a Comment