Ebene News – AU – Anthony Hopkins deserves Oscar for nuanced performance of man succumbing to dementia

Old age is a lonely place in The Father, a spiraling psychological drama starring Anthony Hopkins at 81 the advanced stages of dementia

French playwright Florian Zeller’s debut feature (adapting his own hit Broadway and West End play), it unfolds through a series of time loops and flashbacks, great stories and hallucinations

We realize that most of what we see is through the eyes of Hopkins’ character, Anthony, and we have yet to seek the grains of truth in a worldview where the past, present and the imaginary are interchangeable

To quote those rock arch fantasies, Queen, is this real life? Is it just fantasy?

There’s a feeling that something sinister is brewing, and Anthony – who becomes more and more distressed as the film progresses – insists he’s not as paranoid as others. say so

Nominated for several Academy Awards, including Best Picture and Adapted Screenplay, the film is mostly set in a large, tastefully decorated London apartment that might belong to Anthony or his daughter Anne – or could be part of the movie. ‘Anthony’s imagination

Anthony is often as bewildered as we are, but not necessarily at the same times Sometimes, even when the apartment has undergone a sudden transformation, he thinks he knows exactly where it is

It’s easy to see why the Welsh actor, who won an academic award in 1992 for The Silence of the Lambs, is in the running for his second Oscar for Best Actor The role requires the type of emotional flexion that only a performer with Hopkin’s developed acting muscles can provide.He is alternately naughty, mean, charming, and vulnerable

Nominated for an Oscar for Best Supporting Actress, she is the first person we see onscreen, rushing through the posh streets of London during the opening credits as a voice of ‘opera mounts on the soundtrack

We came out of that setup when she arrives at the apartment to confront her father who, the film reveals, listens to this opening music on a CD He argued with a caregiver earlier today, accusing the woman for stealing her watch, and Anne wants to get to the bottom of it

Anne’s optimism and endurance do not match her father’s deteriorating condition and burning outbursts She is desperate by an inevitable dilemma: she continues to care of him or to warn him?

Anne’s absent sister adds to the general intrigue – an artist whose paintings hang on the walls, but whose whereabouts are unknown

All this mystery – the mood swings, the slippage between past and present – creates a puzzle worthy of a populist artist like Christopher Nolan (but not Zeller’s compatriot Alain Resnais, whose fragmented films on memory and subjectivity are in a more poetic way, register of summaries)

Given the title, it’s curious that Zeller’s screenplay – translated from French and brought to London with the help of co-writer Christopher Hampton (Atonement, Dangerous Liaisons) – seems vague about the concept of fatherhood itself. even

You glean little about the father he once was in father-daughter interactions, despite the striking fact that Anne feels a huge responsibility to him in his vulnerable present

Some moments that seek to draw the curtain and reveal its inner workings actually seem a bit rote

A flirtatious demonstration, for example, when Anthony meets his new caregiver (Imogen Poots) suggests a long buried macho libido But it hardly sounds like a revelation

And more than once, when Anne announces that she is moving to France, he makes the xenophobic joke that the French don’t even speak English

It’s the kind of fanatic daddy joke that’s almost a cliché in the mouth of a character like this – a screenwriter’s shorthand to suggest a xenophobic tendency in an older Briton. with hardly any other evidence of racism, the comment doesn’t particularly shed light on Anthony’s character, or politics

Where the movie takes off is when Rufus Sewell arrives as Anne’s resentful husband, quietly bubbling in his glass of red wine after a day at the office He’s the only capable man to challenge Anthony’s domineering personality – and it’s a clash of wills happening behind Anne’s back

When the two men are alone onscreen, there is a grudge and cruelty that delivers some of the film’s most interesting and disturbing moments, and makes you wonder if Zeller could have better focused more. on Anne’s bad marriage than on her guilt riding quest to be a good girl

Love, winner of the Palm d’Or and 2012 Foreign Oscar by Michael Haneke, also used a city apartment for a slow-burning thriller about old age and delivered more in-depth information on marriage, the parenthood and mortality under similar conditions

If that seems like an unfair comparison, given that Le Père is Zeller’s first film, consider the Frenchman to be an acclaimed playwright already, and a lot of his film’s problems stem from the script

It’s as if all the energy expended on the mechanics of the story has distracted attention from the deeper truths of on-screen relationships The Father is an accomplished start, but he doesn’t always deliver on the promise of its style and surface complexity with a corresponding depth or level of insight

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The Father

Ebene News – AU – Anthony Hopkins deserves an Oscar for his nuanced performance of a man succumbing to dementia

Source: https://www.abc.net.au/news/2021-04-01/the-father-review-oscar-anthony-hopkins-olivia-colman/100039186