Extremely Loud & Incredibly Close (2011)

<strong class="MovieTitle">Extremely Loud & Incredibly Close</strong> (2011)

(On Cable TV, July 2018) Contemporary reviews of Extremely Loud & Incredibly Close were fairly clear and unanimous: this was schmaltz of the highest grade, cynically manufactured to bait audiences and perhaps even the Academy Awards. As a jaded reviewer, surely I didn’t need to watch it and so decided not to. (I was also busy with a newborn.) But what if it worked? Years later, running down the list of Oscar-nominated pictures I hadn’t yet seen, I ended up starting Extremely Loud & Incredibly Close with low expectations and a considerable amount of built-in reluctance, leaving it in the background as I was doing something else. It really doesn’t help that the opening moments of the film hammer the premise home: Here’s the semi-autistic kid of a good man who died in 9/11, and he’s still having trouble coping. Buzzword bingo.  From a conceptual standpoint, the film is still disastrous and a masterwork of manipulation. But as it unfolded and I kept interrupting what I was doing to pay attention to the film, I realized that the execution of the whole preposterous thing was gradually seducing me into accepting its reality. It helps to have good actors—Tom Hanks and Sandra Bullock are exactly the screen persona that the posters promise us, but then there’s Max von Sydow, Viola Davis, John Goodman and Jeffrey Wright in small roles. But the real draw of the film is Stephen Daldry’s inventive direction, which takes us into the dynamic mind of its young protagonist, and treats the edges of the screen as mere suggestion—there’s a lot of image blending here, flights of fancy from strict realistic mimetism and to see this after a few weeks spent deep in classic film was a reminder of how the state-of-the-art in terms of direction has considerably evolved over the past decade, with unprecedented ability to make reality malleable. Of course, the film is far too often too much for its own good: Daldry piles on the weepy triggers by the end of the film and if some of them work, the others feel far-fetched. I’m almost sure that my reaction in 2018 is far more positive that if I had seen the film in 2011—at the time, the film was pitched as a sure-fire Oscar candidate, tied to the tenth anniversary of 9/11 and still playing with raw wounds. Seven years later, well, the first kids without direct memories of 9/11 are finishing high school, we have more pressing urgencies to think about and the film has retreated into semi-respectability as “one of those Oscar nominees”. As a result, it now feels like a discovery more than an imposed viewing and that does make quite a difference. I wouldn’t go so far as to say that the film needs a critical revaluation (I mean: it is still schmaltzy), but it’s probably quite a bit better than critics said at the time.

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