The music biography is a surprisingly familiar genre.
For all that there are thousands upon thousands of musicians with their own life stories and histories, the plotting of these sorts of stories always seems to hit on the same beats. The rhythm and tempo might change, but the notes feel the same. This was rather strongly pronounced a decade ago, when Walk the Line and Ray were released in quick succession and Walk Hard: The Dewey Cox story provided a delightfully surreal skewering of the conventions associated with these sorts of films.
Where there’s a Wilson, there’s a way, son…
There is always a childhood trauma at the root of the story; whether it is a dead relative or parental abuse, there is always a suitable motivator for artistic expression. Similarly, fame is always something of a mixed blessing, with material success only serving to exaggerate a larger spiritual emptiness. Dependencies come rather naturally, whether on drugs or on other people. Eventually, it seems like true love allows our protagonist to find themselves before they find their happy ending. Having a ready-made (and thematically appropriate) soundtrack probably helps.
In most cases, the material is elevated by the skill with which the story is put together. If the film must hit all those familiar notes, then the moving parts make all the difference. Walk the Line and Ray were buoyed by mesmerising central performances from actors at the peak of their game. Love and Mercy hits a lot of these common plot beats as it maps out the troubled life of Brian Wilson. Even a viewer unfamiliar with the arc of Wilson’s life will have a pretty good idea of what to expect from the film.
That sinking feeling…
At the same time, Love and Mercy benefits from a collection of strong performances. Paul Dano and John Cusack play the musician at various stages of his life, jumping back and forth between his controversy-creating career highs and subsequent lows. The bulk of the supporting cast is teamed up with Cusack, creating an interesting circle of characters around Wilson in the late eighties and into the nineties. Elizabeth Banks is Melinda Ledbetter, a Cadillac saleswoman who gets caught up with Wilson. Paul Giammatti is controversial psychotherapist Dr. Eugene Landy.
Love & Mercy is at its best when it feels playful and accessible, and is at its worst when it feels familiar and well-trodden. It is a fascinating sketch at the life and times of Brian Wilson, with a recognisable structure elevated by a great ensemble.
Pet sounds…
Filed under: Non-Review Reviews | Tagged: beach boys, john cusack, love and mercy, non-review review, Paul Dano, review | Leave a comment »
the m0vie blog 