Last weekend, I went to see the recently released, Manchester By The Sea, at the Palace Cinema, Brighton with my daughters, Anne and Mary Jane.
Anne has been a fan of the actress Michelle Williams since she was a teenager and has a collection of her movies. When one is released we always try and see it because the subject matter and execution of Indie films are usually more enriching than the Hollywood blockbusters and populist ‘bums on seats’ fillers.
It’s the difference between enjoying reading a lightweight novel, but the stereotypical characters and plot forgettable compared to a novel, where the characters live with you for a lifetime, the story challenges or introduces a different perspective on life.
I want stories that tug at your heart and soul before adding another dimension to what it means to be human.
And there are so many scenes in this film that are touches of brilliance; they add to an already memorable story and characters.
Michelle Williams plays Randi, Lee’s ex-wife and doesn’t disappoint in Manchester by The Sea – she has been nominated for the best supporting actress award. The few scenes she has, and a gut-wrenching one, in particular – engages the audience the way good acting should – a total suspension of disbelief.
We are with her, feel her love, anger, pain, sadness, joy, guilt and grief. The whole gamut of emotions.
The logline of the movie is simplistic “An uncle is asked to take care of his teenage nephew after the boy’s father dies.” There are many stories in the subtext of this screenplay.
This is a film about broken lives and how easily tragedy and change can happen to any of us. It is a story exploring the journey and stages of grief and the effects of sorrow – different for everyone – especially if it compounds on other bereavements.
Writer and director Kenneth Lonergan has won multiple awards – and I can see why – this film is a powerful story, but he has done a wonderful job of showing not telling, the pacing and tension breath-taking and balanced like any good page-turning novel.
His choice of casting excellent with Casey Affleck playing a broody, moody Lee Chandler struggling to come to terms with inner demons. The first few scenes in the less salubrious suburbs of Boston sets the tone of the movie and reveals Lee’s personality.
In modern parlance, he has issues.
He’s grumpy, socially disconnected, drinks alone and has violent outbursts yet he’s young, physically fit, reasonably good-looking and a competent handyman employed as a janitor for a landlord too cheap to pay tradesmen and prepared to ignore building regulations.
For a minimum wage, Lee Chandler does everything from cleaning, plumbing, electrical repairs, moving furniture, clearing snow, and changing light bulbs while demanding tenants treat him as if he’s invisible, beneath them, or to blame for their maintenance woes. Who wouldn’t be moody and pissed off?
But we sense something more to Lee’s surliness and brooding aloneness, especially when after a bout of solitary drinking in a local bar, he explodes into an inexplicable verbal then physical assault on two strangers.
We are intrigued.
A phone call leads to a mercy dash to a hospital over an hour’s drive away. The pace of the story picks up as Lee is catapulted into a family crisis.
Through flashbacks, we start to piece together the life Lee Chandler left – the familial bonds, the close-knit community, the love for his brother who has just died. The unravelling of his past explains his choice of a life away from the Massachusetts fishing village where his family have worked for generations.
And when the full story comes to light, it is one of those moments, if it was a book, you would place it on your lap, close your eyes and struggle to get your breathing and blood pressure back to normal.
On screen, these emotionally engaging moments are powerful indeed.
All the important storytelling elements keep the audience engaged with the use of scenery as clever metaphors. The movie begins in winter and ends in spring.
There is a brilliant scene where Lee is arranging his brother’s funeral but because it is winter the burial (they are Catholic) must be delayed, the snow covered ground too hard and the cost of heavy machinery too expensive. When Lee and his nephew Patrick leave the funeral parlour unhappy with the reality Lee can’t find his car because they’ve both forgotten where it was parked. Their actions and dialogue removing the angst and sentimentality often seen in other movies but so believable.
Anyone who has been left numb by grief will relate to trying to cope with the bizarre situations that occur as you go through the motions of dealing with death and funerals, especially if there are fractured family relationships (Patrick’s mother is still alive but left years before), complications of beliefs (Patrick is not religious), cost and tradition.
Lee struggles with coming to terms with the unwanted burden his brother has placed on him – legal guardianship of his 16-year-old nephew, Patrick. The relationship between Lee and Patrick, the adjustments and revelations provides much-needed and natural humour as well as penetrating insight into teenage grief.
The scenes where Patrick is trying to consummate a long-standing relationship with a girlfriend and even involves his Uncle Lee to keep an overprotective mother busy are hilarious.
My girls and I discussed the irony of wanting to see a film where one of the main characters is a teenager dealing with the death of his father. They were thirteen and sixteen when their father died.
However, afterwards, as we discussed the movie they both agreed that the portrayal of Patrick’s reactions, the reactions of his friends, and scenes where his anger explodes are spot on and will deeply resonate with young people who have had to cope with a similar tragedy.
There is a richness to this film with its multiple layers of stories and character development. Several scenes will haunt me for a long time because my life has been touched by grief – death by accident, death by illness and disease, the horrific shock of suicide and the natural process of ageing. It is strangely comforting to reflect that there’s a commonality with people from a different demographic and different country.
The actors convey real emotion and believability and as Lee Chandler tries to make a go of this new hand he has been dealt, we root for him and really want it to work so that he can be healed too.
(The film begins and ends with scenes on the family fishing boat showing a bond between Lee and Patrick although the events occur eight years apart.)
This story of broken lives reminds us how easily lives can be shattered:
- a lapsed moment of concentration
- a bad or rash decision
- being in the wrong place at the wrong time
- and good old Murphy’s Law – anything that can go wrong will
We can’t always distance ourselves from the past, we can’t always beat our demons but we can be open to love and just as chance tragedy can change the direction of your life so can a random spark of friendship and love.
Sometimes we just need a reason to reconnect with that healing journey…
If you go to see Manchester By The Sea, I’ll be interested to hear your impressions and insights.
Visually the film is appealing – Manchester Massachusetts, in the United States, is known for scenic beaches and vista points. 24 miles from Boston, at the 2010 census, the town population was 5,136.
Tonight I’m attending a fundraiser for Hidden Figures – a very different film! I’ll review that in a few days!