BEAUTIFUL BOY

Steve Carell     Timothee Chalamet     Maura Tierney     Amy Ryan

     And he apparently was a beautiful boy when he was younger, but as the doctors point out, crystal meth does things to your brain.  One of the things, of course, is addiction.  Nic (Chalamet) is engaging and attractive, and likes to have fun with his younger half-siblings.  He makes good grades, and is optimistic about his educational future.  He has a very close relationship with his father David (Carell), and their family is financially well off.  Nic’s stepmother Karen (Tierney) has doted on him from the beginning. There is no lack of love in this family.  So…what could go wrong?  

     This film is excellent in showing the ravages of drug addiction across a family, even when everything else is about perfect.  It’s an important point today when addiction is such a major problem, and this film is meant to show that it can happen to any family, even those who are strong in every way.  The stereotype of drug addiction is of a disadvantaged, racial minority; but now, it seems to have invaded diverse groups of people in the U.S.

    Beautiful Boy is the story of a gifted boy who, for some unexplainable reason, gets involved in drugs.  In Terry Gross interviews (NPR’s “Fresh Air”) with the actual father and son, whose memoirs form the basis for the film, a physician explained that some people’s brains are more susceptible to addiction and its effects, particularly teenagers, whose brains are still developing. Perhaps that accounts for what happens to Nic.

     In short, he is in and out of drug use and rehabilitation, and this goes on for years (from age 17 to 23).  There are desperate calls usually to his father, episodic good times with his family, starts and stops with college, and the gradual wearing down of them all. In addition to their own let-down feelings, David and Karen have to deal with the disappointments of their children when Nic doesn’t show up for special events or leaves abruptly from family gatherings or pilfers cash and sellable items.  Nic’s biological mother Vicki (Ryan) is brought in to help at one point, but it becomes clear that it will take some kind of resolve on Nic’s own part to get his life back on track.

     Carell’s performance as an understanding, patient father is commendable for his capturing the angst, love, and bewilderment that a father undergoes in these circumstances.  The supporting figures Maura Tierney and Amy Ryan are likewise strong in their roles.  Chalamet, who has become almost an iconic symbol of a physically attractive, sensitive young man, takes on the depleted, desperate look and demeanor of a drug addict (losing 25 lbs. to prepare) just to the point where you will still be sympathetic toward him. He is an actor with a great future ahead.

     Despite its high quality of filmmaking, Beautiful Boy may not make it to awards season.  I attribute that primarily to the subject, which is depressing indeed—not excitingly dark—but simply depressing.  I applaud the filmmakers for capturing the addiction experience so well, it almost looks like a documentary.

A profoundly emotional—and realistic—account of drug addiction and its far-reaching effects.

Grade:  B                                    By Donna R. Copeland

LOUDER THAN BOMBS

Gabriel Byrne     Isabelle Huppert     Jesse Eisenberg     Devin Druid     Amy Ryan     David Stathaim

            Louder than Bombs refers to the needs of this family of males crying out very loudly—not with their voices, but in their actions/inaction.  The mother in the family, Isabelle (Huppert) is dead, and clearly, from the flashbacks, she had an emotional connection with each of the males, but we see little of the family all together.  The marriage was clearly troubled, but this is not a family to reach out for help.  Both sons are sorely in need of therapy as well.  It’s a heartbreaking story for a psychologist to see, recognizing how much they could be helped if they only knew how.

         Isabelle is an internationally recognized news photographer who is away from home a lot.  She is typical of those we hear about who get such adrenaline rushes from their work, it keeps calling them back and they cannot resist, no matter how high the risks to family (Think Jeremy Renner in Hurt Locker and Juliette Binoche in A Thousand Times Goodnight).  Isabelle’s husband (Byrne) is loathe to ask her to stop, even though he apparently sacrificed a promising acting career for the sake of his family.  He is now a schoolteacher.

        Jonah (Eisenberg), the oldest son, seems to have been closest to his mother, and their emotional exchanges show how much empathy he feels for her.  He also has rapport with his father, and they have meaningful conversations, although Jonah doesn’t confide in his father about his marriage, even when he is going through a difficult time with it.

       Conrad (Druid) is the most taciturn of all, seldom speaking to anyone, even the girl he has a crush on and walks home from a late-night party.  He certainly won’t talk to his father, and rushes away any time his father tries to talk with him.  Not surprisingly, his fantasy life is full of violence.

        Among all these people, so much is left unsaid—even when they’re in excruciating pain—it’s astounding.  These people are like ships passing in the night, and it’s hard to believe they’re under the same roof.  But of course, there are families like this; they’re not a figment of the filmmakers’ imaginations. 

       I like the way the film shows each of the main characters’ points of view to show how different realities can be constructed and to encourage empathy with all of them.  It illustrates the knowledge and sensitivities of Joachim Trier (writer/director) and Eskil Vogt (writer) about people and families. 

    Byrne has a history of expert renditions of soulful, informed characters (e.g., In Treatment) trying to reach people who are closed off to him.  Huppert is one of those consummate portrayers of characters that get under the skin (The Piano Teacher) and incite controversy (Amour).  Eisenberg is in a period where he is exploring all kinds of different roles, and here, he is skillful in showing an older brother with conflict in every realm of his life, yet coming across as sincere to everyone.  Perhaps the youngest—Devin Druid—had the most difficult challenge of conveying so much with so little dialog, similar to Leonardo DiCaprio in the Revenant.

     I congratulate Joachim Trier and his collaborators on bringing out once again the experience and repercussions of death—particularly one that is self-determined.  This may be in the context of an unusually repressed family, but aspects of it will ring true to almost everyone.

Reverberating repercussions of a death, something you don’t want to see but should.

Grade:  A By Donna R. Copeland