I’ve been interested in the film Manchester by the Sea, titled after and set within my hometown in Massachusetts, since it was first announced around two years ago. Originally planned to star Matt Damon, the film had an immediate air of prestige coming from acclaimed playwright and somewhat embattled filmmaker Kenneth Lonergan, known for works including This is Our Youth and You Can Count on Me. As it turned out, Damon was not able to star in the film, but remained as a producer, and recruited his longtime friend Casey Affleck to take over the lead role. I would have liked to have been back on the North Shore to observe when they shot the film during the winter of 2015, which was exceptionally snowy and cold.
With this anticipation in place I was very excited when the film appeared on this year’s Windsor Film Festival schedule across the border in Canada, and thus made plans to attend a screening yesterday, creating an amusing irony of having to go out of the country in order to go home. This was perhaps doubly ironic as I was in Manchester itself just four weeks ago and enjoyed a more leisurely visit than my past couple of times being back, which had been just quick drive-throughs.
In general the film lives up to its pre-release and festival generated acclaim as a somber drama that isn’t afraid to go into more depth than other stories it might be similar to. The detailed tone is apparent from the opening scenes, when character beats are held just a second or two too long and/or a character says something they might be thinking but not say in a “conventional” setting. Affleck is on screen in nearly every scene and anchors the film with exceptional pathos; his character motivations are initially shrouded but gradually become clearer as the story goes back and forth in different time frames.
As a native of the area, it’s inevitably both amusing and irritating to see how Manchester itself is represented in the story, with a to be expected range of minor to moderate geographic implausibilities sprinkled in the narrative, along with a few glaring omissions or character choices that made it obvious the writer did not have roots in the area. However, the pleasure of seeing familiar locations and landmarks on screen (especially while watching it in Canada) goes without saying! Since it’s fun for me to examine, I’ll outline some of the film vs. reality impressions here.
- There’s not really a PC way to say this, but it’s doubtful (while not impossible) that a “working class” family as depicted in this story would actually live in Manchester, which has the highest household income of the North Shore area and is known for having large houses and estates and corresponding financial security. I continue to feel that the story ought to have been set in the neighboring and better-known town of Gloucester, which has a more diverse range of inhabitants and a closer connection to the art of the sea. Indeed, the film’s opening shot jumped back and forth between Manchester and Gloucester harbors in order to set the mood of the story. A key scene between two characters late in the film is also filmed in Gloucester, though the dialogue implies they are still in Manchester.
- When Affleck first arrives back on the North Shore, a scene takes place in the neighboring town of Beverly. He then says he has to “go up” to Manchester, which no one would say about the next town over. However, the statement makes sense when his character mindset is considered, having driven up from a town south of Boston on short notice.
- Subsequently, when Affleck first enters Manchester, where he’s meant to have grown up, he drives away from the town center and several well-known gathering places are not seen at all during the film including the town market and train station. A few other scenes in the film feature him driving around to make trips that would be more likely accomplished on foot.
- The town’s crown jewel Singing Beach is not seen in the film nor referenced in any of the dialogue.
- While the choice to have most of the characters use “Boston” accents fits in to the dynamic of the story, such accents are rarely heard in this part of the North Shore, and Hollywood in general still has not learned that those accents are very tightly concentrated to inner-ring towns around and some sections within Boston itself.
OK, continuing with the film itself. As Affleck’s character Lee experiences the story, he is tasked with looking after his nephew Patrick, played by Lucas Hedges. This character offers a very well-drawn depiction of mid-teenage years (he’s meant to be 16) and the delicate dance of making choices that relate to your family vs. your own personal journey and desires. Patrick’s arc also contains unexpected humor that enlivens the story, while the character also brings it back down to earth/the reality of the situation at a few surprise moments that add to the dynamic of the uncle/nephew relationship. The process of honesty and being “real” that is established early in the film is most sharply seen in the scenes with Patrick, and actor Hedges rises to the challenge with a strongly committed and revelatory performance. The film toys with sending Lee and Patrick’s relationship into “buddy/odd couple” comedy mode, and there are indeed several humorous moments, but then it comes back to reality with the empathy for both characters strongly intact. On the whole, the dynamic between both male characters made me notice that the film isn’t shy of going in-depth with masculine feeling and emotion, often glossed over in storytelling and popular culture, and that choice likely contributes to the richness of the drama.
Of the supporting cast, Michelle Williams is the obvious stand-out in a few strong scenes as Lee’s ex-wife. While her “Boston” accent is likely the most distracting of the cast (at least Affleck’s is authentic), she also carries the reality of the story and the challenge of character choices in context of the narrative.
I would see the film again, and you should too when it comes to general release and likely Academy Awards season acclaim at the end of this year.
Continuing my series of posts focusing on the Star Trek: The Next Generation adventures on the big screen, the 16th anniversary of the crew’s third cinematic foray, Insurrection, is coming up next Thursday.
Once again I was excited to see my favorite space crew on the big screen, and proceeded to see their latest voyage three times during its original cinematic release. First up was an opening day screening at the then – new Showcase Cinemas Lowell, which was just coming up to its first anniversary of opening. I remember it was a winter concert night at my high school (which I was performing in) a few towns away from Lowell, so my dad picked me up and we rushed to the cinema and then hurried right back so I could make it to the evening event. Unfortunately, that rushed state led to me leaving my first point and shoot camera there in the movie theatre, and I was unable to recover it, which disappointed me and my parents as it contained a few photos that could not be replicated. (why did I even take it into the theatre? probably to take a picture of the poster… interesting how those things stand out in the memory…)
A week later, my dad and I caught the film a second time on Opening Night of the new and long – awaited Loews Theatres Liberty Tree Mall. I remember feeling disappointed that Insurrection was shoehorned into one of the complex’s smallest screening rooms, even though it was just in its second week of release. We would get to know the rest of the complex very well over the next several years.
This film serves as half of the answer to a regional trivia question in that it was one of the two final films to screen at the Loews Liberty Tree Mall twin cinema, which closed down after screenings on December 17, 1998, to make way for the new 20-plex.
Finally, I saw the film a third time in St. Johnsbury, VT, near the end of that month, with my mom and several other friends. I highly doubt that St. J’s Star Theater has changed much since that screening!
It’s been awhile since I’ve actually watched Insurrection, and I’m aware that it has a bit of a “meh” reputation among fans. The film’s location photography in the Mammoth Lakes region of California stood out to me on those early viewings, with lush greenery and icy blues serving as fitting evocations of an alien planet. Veteran composer Jerry Goldsmith again delivered an expert tapestry of musical images to drum the story along and serve as a backdrop for the crew’s continuing mission. But I agree with a sentiment that I once saw somewhere indicating that this film shows the Next Generation crew at their most natural. They don’t have to ramp up the violence to show they can kick some ass and bring in box office, they don’t have to compare themselves to other Star Trek crews, and they don’t have to do a victory lap on their way out of the spotlight, they can simply be present in the story, and relate to each other with humanity and consideration. (The last point is something that the actors continue to do well in real life, as seen in writeups of their convention appearances over the last several years, and I saw for myself when I met Marina Sirtis here in Michigan a year and a half ago.)
I likely did not realize on first viewing that the “guest stars” for this installment drew heavily from the theatre world, where most of the regular cast members also have roots. It would be interesting to see some alternate universe mashup where Donna Murphy and F. Murray Abraham suddenly launched into dramatic monologue faceoffs with Patrick Stewart, Gates McFadden, Brent Spiner and the rest of the cast.
Why not continue with what is clearly a theme for this week?
Star Trek: First Contact celebrates the 18th anniversary of its release tomorrow. Something about seeing that movie on the big screen must have been a formative experience for me (the first time I ever rushed out to see a movie on opening night, perhaps?) as I have continued to recall its anniversary on this day of the year. Last year, of course, it shared the date with the 50th anniversary of the JFK assassination.
I thought I had written an earlier LiveJournal flashback entry about seeing First Contact on the big screen, but I can’t find it. So I will attempt to recount the experience here.
I was very eager to discuss the movie throughout that Friday of 7th grade, and various Trek fans sites of the time – probably message boards and magazines – had been counting down to the release for a while. Once evening rolled around, my dad, a close friend and I traveled to the Showcase Cinemas in Woburn, intending to catch First Contact. But (in this pre online and mobile ticketing era) it was SOLD OUT for the night! I was pleased that all signs seemed to indicate it would be a hit, but it wasn’t feasible for us to stay for the late show. Since we were there… we ended up at the premiere screening of the weekend’s other new release, Jingle All The Way, with Arnold Schwarzenegger and Sinbad playing dueling fathers in the holiday shopping season. We drove back home to the North Shore with a slight sense of disappointment.
The next day, my dad and I traveled along with some family friends to the General CInema in Burlington to again attempt to catch First Contact. Unfortunately my friend who had come along the previous evening was not able to join us.. We succeeded in catching a matinee of the film along with a sold-out crowd at Burlington’s largest screen, cinema 5, right in the middle of the complex. I remember appreciating the synchronicity of seeing it there, as we’d seen the first trailer for First Contact when catching Independence Day at that same cinema during the summer of 1996.
My dad and I enjoyed the film so much we saw it again just a week later back at Woburn, and for a third time at the General Cinema in Framingham on a snowy night in early January 1997. In fact, I realize that “threepeat” viewing set a pattern that I followed for the subsequent two Next Generation films in 1998 and 2002… perhaps those can be “film flashbacks” in a few weeks.
The film was the perfect adrenaline rush for a die – hard Next Generation fan like myself. Its PG-13 rating signified that Trek had embraced a new edge, where all previous films had been rated PG, except the first one with an odd G rating. The Next Generation crew were solidly on their own in this adventure, and weren’t afraid to kick some ass with their longtime Borg arch-nemeses. My favorite character, Data, got a whole story arc of his own as a captive of the Borg Queen, and also got to assert himself as the film reached a climax. The music score showed veteran composer Jerry Goldsmith returning to the series with gusto, contributing a refreshed rendition of his title theme and many additional atmospheric and memorable cues. The special effects was very much au currant for 1996, most notably seen in an extended sequence on the new Enterprise’s deflector dish. Perhaps most importantly, each member of the Enterprise crew was given at least one moment to shine or show off a particular character trait, with results showing their range from devastating drama (Picard: “the line must be drawn HERE!”) to broad comedy (Troi: : “I don’t have the time… what was I saying?”) and with the sure hand of cast member Jonathan Frakes guiding them in his cinematic directorial debut, the sky was the limit and anything was possible in Star Trek’s 30th anniversary year.
November 19 has been a somewhat bittersweet anniversary for the last several years, as this day of the year (in 2007 – now 7 years ago) was the last time I was off the North American continent. This is significant primarily because the preceding 8 years saw a wide range of international travel adventures for me… but nothing since 2007. I’m happy the extended hiatus will be ending next March, and, obviously, to be continuing with domestic travel in the present era.
Nonetheless, the anniversary made me recall blog writing before and after that 2007 international flight, and so I turned to LiveJournal to look at the entries again, and re-post them here. It’s worth noting that my theatregoing on that visit included War Horse, which went on to be an international smash, acclaimed film, and is still playing today in London.
November 19, 2007 – “Country Coda Prior to The Journey Home”
It’s a misty morning here in the suburbs of Surrey. The view from my family friends’ house — of thatched brown roofs, tiny streets, and wide swaths of greenery — is suitably “English” to be visually comforting and a relaxed coda for this trip. I’ll be making the journey over to Heathrow via train and bus in time for a 7pm flight that’s due to return to MA at around 10pm EST.
The last few days in London continued to be jam-packed, between seeing two more plays (War Horse, a family drama, and The Country Wife, a raucous Restoration comedy), going around to other parts of the city I hadn’t visited before, including Speaker’s Corner and the area around Spitafields’ Market, and spending time with friends. It concluded with some souvenir shopping yesterday morning and while it was slightly disconcerting how easy it was to $pend (as is often the case in London…) I’m confident I made good purchases of mostly books. I was struck by a wave of sentimental nostalgia, since I’m not sure when the next time I’ll be back here in England will be. However, as was the case when moving out of London in April, it’s double-sided by the reality here of high costs of living, high taxes, vast difference in standards of living and an increasingly tight-knit government…but overall, it’s intriguing to ponder, and I did devote some research to possible theatre grad schools back here, just to consider.
I’m grateful to have been able to take the time for this trip and, as always, to have made the most of the endless artistic experiences here.
November 20, 2007 – “Home in Massachusetts and Staying for Awhile”
I got back to the States around 10pm last night and had a remarkably easy travel/flight process – the speediest airport check-in I’ve ever had (at Heathrow Airport of all places), a cordial customs greeting, somewhat tasty airplane food, and decent films to watch. Even an hour’s delay in taking off from Heathrow didn’t make the flight late getting to Boston.
Am experiencing the usual slightly surreal feelings of being home again, especially where I was walking around rural England yesterday and am in rural Beverly today. I’m sure the adjustment process will ease over the course of this week…
Man, 1994 was a great time to be a Star Trek fan.
The long – running classic franchise was arguably at its modern – era peak, with many entertainment magazines eager to devote coverage to the Enterprise’s banner year. (A particularly good example is Entertainment Weekly’s FOUR covers devoted to the franchise over the course of the year – January, May, October, and a special collector’s issue, in addition to a cover story in its sister publication TIME. )
In immediate output, the year saw Star Trek: The Next Generation completing its seven season run in syndication in May, Star Trek: Deep Space Nine settling in to a steady run in syndication – finishing its second season and going right on to its third, Star Trek: Voyager beginning filming that October and set to debut in January 1995 on the new United Paramount Network, and Star Trek Generations, a new film uniting select crew members from the Original Series and the entire crew of The Next Generation, set to hit movie theaters on November 18.
And now here we are twenty years later, and Generations will be a 20 year old movie on next Tuesday. As Picard mournfully says in the film, “time is the fire in which we burn.” But I don’t think it’s that somber of an anniversary – at least, I hope not!
Looking back, this was the event movie of the season for me, as an impressionable 10 year old and recently minted TNG fan. I talked my mom, who wasn’t the fan – parent, into attending an opening afternoon showing at the Loews in Danvers, and am sure I also talked up my anticipation throughout that week of 5th grade, so much so that one of my two homeroom teachers continued to ask me about Star Trek topics for a few years afterwards, and probably would clearly remember it if I brought the subject up to her today. My dad, the fan – parent, and I caught an encore viewing of the film a month later at the then – new General Cinema in Burlington, which would be a frequent filmgoing site for us over the next couple of years.
I’d love to see any written thoughts I might have expressed about that first screening on the opening afternoon. I do recall feeling some disappointment at the downbeat nature of the story, such as Captain Picard being an emotional wreck rather than a fearless leader for the majority of the movie. I certainly enjoyed Data’s increased presence in the storyline, as he decided to finally jump into a world with emotions, and even experiment with swearing!
The film enjoyed a solid critical and commercial reception, ultimately grossing around $75 million in grosses. I recall that its video release came on my birthday in 1995, eight months after its cinema release. The film was allegedly the first to ever feature a website as a key promotional tool.
I watched the film again about a year ago and could not believe it’s slllooowww pace, which would not hold in 2014 filmmaking styles. On the other hand, it is refreshing to see the mix of CGI and model – based special effects, which has become a lost art in the current era. The story’s short shrift to the majority of the Next Generation characters is regrettably evident upon seeing it again, and became an unfortunate trend throughout the crew’s cinematic forays. Most Trekkers can’t forgive the film for its careless kick – out of Captain James T. Kirk, who is allowed an unfitting death scene near the end of the film, and seems tacked on to the narrative, again taking away from the Next Generation focus. (what might the film have been like if it did not include any Original Series cast members?)
Especially considering it was followed two years later by First Contact, the Next Generation crew’s finest cinematic hour, this film did not age well on multiple fronts. The writers voiced their retrospective opinions in a revealing interview that appeared on the internet earlier this year. Other TNG actors have noted the intensity of 1994 and the mixed blessing of finishing their series and going right on to the movie.
So Generations clearly has a place in Star Trek history, but it is remembered with mixed emotions by those involved – and perhaps by other fans who were eager to see it on the big screen but then not matched in their expectations to boldly go where no one has gone before.
As another Halloween proceeds towards a gusty climax here in Detroit, it seems appropriate to look back to a film that has come to define this holiday for many members of my generation.
Hocus Pocus also stands out in my personal cinematic history in that it was the first film I ever observed shooting, thus becoming my unofficial first extra-ing gig.
As an impressionable eight year old, it was very exciting to see bright Hollywood set lights on a familiar street not far from my family’s home in downtown Salem. The production had come into the area for a couple weeks of location shooting, turning a community center off Salem Common into a school, a house not far down that road into a main character’s residence, the Common itself into a brief visible character, and various areas around the city into backdrops for several short exterior sequences. They may have also traveled into nearby Marblehead for a few shots – I don’t recall for sure.
The film’s visit in October 1992 also happened to take place in the 300th anniversary year of the notorious Salem Witch Trials, so there was an extra – large level of pomp and circumstance around the town. The annual (and seemingly endless if you are a resident) Haunted Happenings festival was well underway.
I do clearly recall standing in front of the Old Town Hall with a modest crowd as the cameras rolled on an early evening crowd scene. The director asked us to make a lot of noise as he did a couple of panning shots, and so we willingly obliged. It was fascinating and surprising (again, eight year old point of view) to see the large construction lights illuminating a familiar area that didn’t usually get that much attention.
I also remember observing the film crew in residence around town for a week or two before and after the town hall scene, with much curiosity directed towards the film trucks around Salem Common and the presence of extra cars and crew members around other familiar locations. At the time, Massachusetts did not enjoy its current status as a regular destination for Hollywood filming, and so it was A Big Deal for anyone in the area to observe the production activities.
A handy Boston.Com guide to the local filming of the movie — amusingly claiming that “it’s a little known fact that some scenes of the film were really shot in Salem” — reveals that the filming I recall was the scene leading into the film’s Halloween party sequence. The filming locations are also referenced in another article, and I’m sure there are others.
Fans of the movie might not know or recall that the finished film arrived in theaters in the summer of 1993, just a few days before my 9th birthday, and was not a box office hit. Why Disney chose to bring an obvious fall – themed film into theaters at that time of year is inexplicable. The film eventually found its longevity in the home media market, first through a video release and then through a regular seasonal presence on cable channels.
A bit of film nostalgia and history on the now 21 year old movie:
- Its IMDB trivia page says that star Bette Midler considers this movie to be her favorite film project.
- Co-star Sarah Jessica Parker was just five years away from starting her most iconic and well – known role in Sex and the City, but was also an industry veteran by this point in time.
- Third trio member Kathy Najimy performed a role originally intended for Rosie O’Donnell and led the cast representation at a 20th anniversary screening last year.