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.
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.
This week I have caught up on some recently released and filmed in Europe films, making me stoked to go back to The Continent during spring break next March.
First up was the new thriller The Two Faces of January, adapted from Patricia Highsmith and from the writer of Drive. Hossein Amini retained his costar in the earlier film, Oscar Isaac, and added Viggo Mortensen and Kirsten Dunst into the mix as a central trio caught up in a deceitful web within 1962 Greece. All three actors find several elements to highlight of their roles, with Mortensen nailing the disheveled intrigue of a shady businessman, longtime cinema veteran Dunst offering a mature portrayal of a young woman caught between several worlds, and Isaac continuing to come up the ladder, cinematically, filling in the role of a man who has his hands in several parts of Athens life.
The actors are aided by carefully chosen photography and film work, emphasizing the colorful contrasts of Greece, and a reminder of an era when locations felt more far away (presumably) than they do in the present day, with real effort needed to get a specific plane ticket, to make your next travel connection, or make sure you still have everything you need for your out of the country identification and security.
The film might suffer from what I assume is a flimsy source material. Highsmith’s interest in shady characters, same-gender relationships and European locales is all there, but at a 90 minute running time, there isn’t much depth aside from the inciting event and what happens after that experience. A more seasoned director might have gotten deeper performances from the leads, though Amini’s experience with narrative tension comes in well late in the film with a series of “will they or won’t they succeed in _______ activity” sequences.
The second film of the week, My Old Lady, is a cinematic interpretation of a play originally seen at my “other” hometown theatre, Gloucester Stage Company, in 1996 and 2005. (I remember hearing of both productions but did not see either of them performed.) The film also marks the belated cinema directorial debut of Israel Horovitz, former artistic director of GSC and well – known in the theatre world. Throughout the film, its stage origins are clear, with some positive and some negative results.
The film also seems to be an excuse for its central trio – Kevin Kline, Maggie Smith and Kristin Scott Thomas – to flex their acting muscles in a new project. Scott Thomas has been seen onscreen before with both Kline and Smith, but not in the same film. IMDB says her role was originally scheduled to be played by Jane Birkin, which might have made more sense in the story.
As it is, the start of the film introduces Matthias (Kline), a down on his luck New Yorker who has recently traveled to Paris to inspect an apartment his recently deceased father has left him. He quickly learns that the apartment has been inhabited for many years by Mathilde (Smith), a woman now in her 90’s, and her daughter (Scott Thomas), neither of whom is receptive to his intention to sell the house for income purposes. The focus alternates between the three central characters as Matthias debates whether or not he wants to go through with the sale, while through a series of circumstances, Mathilde reveals that she knows more than she lets on about her family history and how the two younger people are connected to her and each other.
The script’s stage origins are clearly visible throughout the film, with several long monologues still in place and a few scenes clearly added to “open up” the plot and take advantage of the perennially picturesque Parisian locations. Most of the story settles in the central location of the Marais apartment, which seems to be quite large and endless, complete with an attached garden.
Kline seems to be enjoying the demands of the part, showing awkward alcohol – induced stodginess in several scenes, but then following it up with hints of long emotional neglect. Smith also goes beyond her current Downton Abbey stereotype of twinkling eyes and cutting comments, not hesitating to be forceful in several scenes while also showing genuine heart. Scott Thomas falls somewhere in between with a difficult part that seems to be in the middle of the two-character seesaw solely for reaction – based purposes. I can’t say that the film fully convinced me as a drama, but if its taken as an acting class from veterans and perhaps isolated out with just a few of the character monologues and moments, then the best parts come to light.
It was cool to see the full Art Deco experience of the Main Art Theater in action last night.
Yesterday I was pleased to discover the CInemark 16 on the border of Oakland and Macomb counties, and its selection of second – run movies that may or may not have arrived on DVD, but in this case, were still showing on the big screen.
I find this style of moviegoing to be a lost art. Not so in the Midwest, but very much so in my New England home turf, and on the other coast as well.
It’s unfortunate, because I remember 15 – 20 years ago, second run movieplexes were still very widespread in New England. If I missed something at Danvers 6, it would show up later on at the Warwick Cinema, and maybe after that at the Cabot Street Cinema, and the same thing could be seen within a range of different small towns around Boston.
Nowadays, a kid growing up on the North Shore will go to the Liberty Tree Mall 20, which I’m sure is showing its 15 years of age, and the Gloucester Cinema is still hanging in there. Other spots have either changed (the Warwick Cinema was re-born as a classy cinema restaurant within the past year) or closed down, with the Cabot Street Cinema sadly for sale.
And so it’s been refreshing to know that tradition of seeing movies past their initial expiration date continues here in the Midwest, as I initially saw in Dayton, Ohio, several years ago and now see to be true around Detroit. Although I bought a ticket for a movie yesterday, I didn’t actually go in (!) but will consider the $1.50 as a donation to the complex. I’ll look forward to finding the right time to go back.