January 12, 2017
Greetings again from the darkness. Sometimes the real life story is enough. The story of Saroo Brierley is proof. A 5 year old boy from rural India gets stranded at a train station and inadvertently takes a train trip that strands him in Calcutta, thousands of miles from home. He is adopted by a Tasmanian couple and later uses Google Earth to systematically track down his village, family, and ultimately his self.
Saroo’s story would be interesting enough had a writer fabricated it; but in fact, Luke Davies adapted the screenplay directly from Mr. Brierley’s book “A Long Way Home”. Director Garth Davis and an exceptional cast bring this incredible and inspirational and touching story to the big screen in a wonderfully entertaining manner.
The first part of the film introduces us to 5 year old Saroo (a bright-eyed and energetic Sunny Pawar) and his beloved and protective older brother Guddu (Abhishek Bharate). The two boys are nearly inseparable and seem oblivious to the hard life provided by the small village they live in – where their mother literally carries rocks all day. A fluke of circumstance causes the train station separation for the brothers, and young Saroo finds himself on a train ride that will forever change his life.
Very little dialogue is found in this first part, but we immediately connect with the young boy, and we feel his frantic desire to return home as a tightness in our chest as he falls into the quagmire of homeless kids in Calcutta. When Saroo first meets Sue and John Brierley (Nicole Kidman, David Wenham), he isn’t sure how to react. His assimilation into this unrecognizable new world might just as well have been on another planet as a home in Tasmania.
Once the film jumps ahead, Dev Patel takes over as Saroo and the film turns into a journey for the universal need to understand our identity … where we come from, and who we really are. Rooney Mara has a small but important role as Saroo’s girlfriend Lucy (a composite character), as does Divian Ladwa as Mantosh, another boy adopted by the Brierleys. It’s here where Google Earth enjoys its biggest plug as the tool Saroo utilizes to solve the mystery of his origin.
The film is beautifully shot by cinematographer Greig Fraser, and he perfectly captures the harshness of young Saroo’s home village, the frenzied pace of Calcutta and the beauty of Tasmania … all without losing the emotions of any given moment. To cap it off and to prove the filmmakers never stooped to any ‘trickery’, the film ends with actual footage of Saroo reuniting with his mother, and then the magical moment when his two mothers embrace. Good luck maintaining composure during this part!
watch the trailer:
December 22, 2015
Greetings again from the darkness. The film’s title has multiple meanings: “Life” Magazine as the source for the famous photographs we have seen so many times; the crossroads in “Life” of both rising star James Dean and photographer Dennis Stock; and a philosophical look at “Life” – how quickly things can change, and how we should appreciate the moments.
Director Anton Corbijn (A Most Wanted Man, The American) and screenwriter Luke Davies offer up a snapshot of 1955 as the not-quite-yet-famous James Dean (Dane DeHaan) traveled cross-country with photographer Dennis Stock (Robert Pattinson) from Los Angeles to New York to Indiana. Each man was searching for their true self as Stock’s professional ambition and personal stress are palpable, while 24 year old Dean’s ambivalence about his pending superstardom borders on self-destructive.
DeHaan and Pattinson both underplay their roles, and it’s certainly more than a little confusing to see Pattinson in a movie about James Dean where he is not the actor playing the icon. DeHaan captures the low key, soft-spoken side of Dean but only teases at the “rebel” studio head Jack Warner (Sir Ben Kingsley) wanted so badly to control. We get a feel for Dean’s vision of challenging roles in quality productions … a commitment to the art of acting he no doubt sharpened in his time with acting guru Lee Strasberg. The story leans more heavily to the tale of photographer Stock, which is unfortunate, because he is significantly more awkward than interesting. Pattinson plays him as a social misfit who broods nearly as much as the “moody” young actor he is stalking through the streets.
The period look is well appointed, and we are privy to some of the moments of Dean’s life just prior to the release of East of Eden and his being cast in Rebel Without a Cause. His relationship with Pier Angelli (Alessandra Mastronardi), friendship with Eartha Kitt (Kelly McCreary), and his bond to the family and farm of his childhood in Indiana are all captured. In fact, it’s the clumsy relationship with Stock that comes across as the least realistic portion … though it may very well have happened this way. Even the manner in which the famous photographs were taken is underplayed … although it makes for a terrific tie-in with the closing credits where the real Stock/Life Magazine photographs are displayed.
It’s now been 60 years that James Dean has exemplified Hollywood “cool”, a label that can never be removed due to his tragic death in 1955 after making only three films. Capturing the essence of what made Dean cool is unnecessary because it’s present in every scene of those three films, as well as the photographs taken by Dennis Stock. That’s all the legacy either man needs.
watch the trailer: