After brief reviews of a pair of foreign language entries for the 2019 Oscars and the first of two radically different Nicole Kidman vehicles at the fest, my coverage of Film Fest 919 continues with Part 2. This time around, I’ll be taking a look at what might be Robert Redford‘s final film role, the documentary companion piece to Orson Welles‘ The Other Side of the Wind, and a moving drama about the late stages of life. Let’s dive in!
The Old Man & the Gun – David Lowery
If we’re being totally honest, David Lowery‘s The Old Man & the Gun likely won’t be industry icon Robert Redford‘s last appearance on the silver screen. His last big starring role? Possibly. His last movie ever? I doubt it. But if I’m wrong and this does go down in Tinseltown history as the final bow for the Oscar winner and Sundance founder, it’s sure to gain a reputation as a breezy, effortlessly charming slice of mellow heist fun, highlighted by laid back robberies and a quirky sense of style. It’s the movie equivalent of a mischievous grin.
Redford plays Forrest Tucker, who is characterized by everyone familiar with him as probably the nicest criminal in history. The older fella is practically addicted to robbing banks, but he never intends to hurt a soul. In one scene, a young girl at the counter says that it’s her first day on the job as the old man robs the bank. “Well, there’s a first time for everything,” Forrest replies with a smile.
After a particularly clever job, Forrest and his associates (Danny Glover & Tom Waits) catch the attention of John Hunt (Casey Affleck), a cop who subsequently devotes his entire life to catching what he deems the “Over the Hill Gang.” The case becomes something of a public spectacle in the process, putting the crew in greater danger. At the same time, Forrest finds meaning outside of robbing banks through his relationship with Jewel (Sissy Spacek), a friendly, no-nonsense woman with a calming horse farm.
From this foundation, the film splits its time between very mild commentary on the process of aging and jaunty heist scenes that celebrate Forrest’s ingenuity and rebellious spirit. I know his earlier movies have their fans, but after the philosophical self-importance of A Ghost Story and the meandering gentleness of Pete’s Dragon, it’s thrilling to watch writer/director Lowery loosen up and have some fun. His sense of aesthetic control (there’s a grainy, perfectly weathered look to the cinematography) remains totally impressive, and yet its function is in service of a more lighthearted, agreeable affair.
Redford is probably the only actor who could lead this movie, which basically lives and dies by his performance. Thankfully, the legendary star goes on a full-on charm offensive throughout this criminal adventure, stealing scenes with his beaming expression and even indulging in some refreshingly smart, honest conversations with Spacek and his other co-stars. Assisted by Lowery‘s tongue-in-cheek editing style (it feels like a more grounded imitation of Wes Anderson‘s trademark idiosyncrasies), Redford lights up the screen with his borderline self-aware smoothness.
As amusing as it can be, there is something to be said for the relative insignificance of The Old Man & the Gun. While the film is light on its feet and slickly entertaining, is that enough? The story basically ends up doing a loop, and I’m not sure we gain much from the journey. Your mileage will likely vary in this regard, especially if you’re viewing this as a Hollywood icon’s last huzzah. I was willing to forgive its slightness, yet I can’t help but hope that Redford ends his run on a more substantial note. But when faced with such a pleasant time at the movies, it’s almost too easy to get caught up in the pure joy of it all.
They’ll Love Me When I’m Dead – Morgan Neville
Did Orson Welles ever really say “They’ll love me when I’m dead?” I’m no expert, so don’t ask me. And don’t ask Morgan Neville or any of the subjects interviewed in this documentary either. Early in They’ll Love Me When I’m Dead, one of several critical figures in Welles‘ life emphasizes that the exact quote is something of a mystery, much like many other things from the iconic director’s time on this planet. The unknown quantities of the filmmaker’s life are on full display in this documentary, which tackles everything from the true purpose of his later work to the parallels between Welles and the notorious Charles Foster Kane. As a documentary, it’s a confounding, ambitious, and vital work of historical study and introspection.
Above all other concerns, They’ll Love Me When I’m Dead is about the making of The Other Side of the Wind, Welles‘ perpetually delayed final film. By this point, every cinephile in the world knows that Netflix is preparing to release the project in just under a month, long after putting up the money for producers to piece together the final bits of footage. Through a clever concoction of archival footage and new interviews, director Neville investigates the making of this bold project, examining both Welles‘ relationship with New Hollywood maverick Peter Bogdanovich and his ruminations on the business that embraced and exiled him.
Neville was also behind the camera for this summer’s Won’t You Be My Neighbor?, an exceedingly gentle salute to Mister Rogers and the show that made him famous. It made a lot of people cry, but I was slightly disappointed by its reluctance to investigate a legendary figure’s beliefs and values with any real complexity or nuance. Of course, this led me to worry that Welles would be deified in They’ll Love Me When I’m Dead, which isn’t exactly the case. While the film sometimes resists overtly criticizing the director too much, this is a messy portrait of the man who stands as a titan in today’s cinematic landscape. It is equal parts frantic, reverent, and inquisitive; in other words, it’s much like the filmmaker’s own life.
Part of the fun of this documentary is the uncertainty of it all, the inability to say in any verifiable terms what Welles intended or thought or even said. He has always been a figure of great mythological importance, and that’s used in a unique way here. Neville poses a billion questions that one documentary couldn’t even begin to answer, but it’s endlessly entertaining to see the clash between traditional elements of non-fiction storytelling and this nearly experimental reflection of Welles‘ own madness on the set.
However, film fans will likely be most compelled by Neville‘s stretch for clever theories of Welles‘ body of work, partially enhanced by his newfound concept of The Other Side of the Wind. The documentary proposes that many of Welles‘ films (specifically his most famous movie and his last project) were autobiographical in form, shaded by his childhood, his own brilliance, and his uncontrollable ego. Welles‘ story thus becomes something of a tragedy, filled to the brim with lost potential and the collapse of ideas that could have been transcendent.
But it doesn’t stop there. They’ll Love Me When I’m Dead talks about a possible curse, draws even more explicit parallels between Welles and Kane, and further presses into the blurred line at the heart of The Other Side of the Wind. And then it annihilates that line.
For those worried that this would be just a glorified trailer for Netflix’s big project, you can rest easy. Neville does something far more fascinating in its final moments – he theorizes that maybe Welles‘ final film was intended as a documentary of people talking about the making of a movie. So did we just inadvertently watch the director’s original vision? Or is this just one last trick?
We’ll never know. But it’s fun to think about.
What They Had – Elizabeth Chomko
I have no real desire to get too personal in this brief review, but when it comes to decisions made near the end of life, I’ve seen firsthand how difficult it can be. Writer/director Elizabeth Chomko‘s What They Had captures these tough choices with honesty and authenticity, shining as a prime example of universal experiences brought to life through a very specific story. Led by an excellent cast, the film delivers a strong blend of light humor, emotional tenderness, and dramatic stakes, only until the finale fails to stick the landing. Still, this movie is going to touch a lot of people in a significant way.
Oscar winner Hillary Swank stars as Bridget, the daughter of a Chicago couple who moved out west to California to jump-start her own life. One Christmas, she’s called back to the Windy City by her brother Nick (Michael Shannon), who informs her that Ruth (Blythe Danner), their fading mother, has wandered off somewhere into the city. Ruth suffers from Alzheimer’s disease, which Burt (Robert Forster), the love of her life and a devoted husband, has long been reluctant to deal with. Along with struggling daughter Emma (Taissa Farmiga), Bridget packs her bags and flies home as quickly as she can.
Things end up being okay, but Ruth’s brief disappearance into the freezing cold of the Chicago winter starts a new round of discussions about the proper future for her. Nick wants to put his mother in a nursing home, where she can be taken care of as her time here winds down. His father refuses. Bridget supports, even offering a situation where the loving couple can live next door to each other. Her father also refuses that offer.
The situation thus becomes a battleground for family squabbles and personal strife. The former is rendered brilliantly by Chomko, who understands that these battles over crucial decisions regarding care can bring out both empathy and anger, a constantly fluctuating mix of passionate emotions that almost always come from a place of love. The early stages of the film have a cold, almost improvisational feel, as these discussions end up existing somewhere between acidic wit and reflective openness. The entire ensemble is quite strong, with Swank, Shannon, and Forster standing out amid the crowd.
When Chomko delves into the personal lives of her protagonists, the film loses its footing a bit. It’s established early on that Bridget is feeling pretty discontented with her marriage to Eddie (Josh Lucas), a nice suburban guy who still seems a little too passive and vanilla. Plus, Emma is having a hard time in college, Nick is increasingly at odds with his father, and Bridget is struggling to hold it all together. What feels so authentic in the early stages begins to feel a bit too contrived; it’s like these real, grounded characters are suddenly in an Oscar-y showcase of dramatic grandstanding and epic monologues.
Finally, the film’s ending pulls a bait-and-switch that comes off as an unnecessary twist, jerking around its audience for no apparent reason. The solemnity and strength of the first act makes the ultimate conclusion all the more frustrating, as it dips into territory that doesn’t quite ring true in execution. What They Had is genuine and moving in its depictions of hard moments near the end of life, but I just wish that raw, unadulterated emotion operated on a more consistent current throughout.
That’s it for this breakdown, but look for more Film Fest 919 coverage very soon!
The Old Man & the Gun was released in the US on September 28, 2018. It will be released in the UK on December 7, 2018. For full international release information, click here.
They’ll Love Me When I’m Dead will be released globally on Netflix on November 2, 2018.
What They Had will be released in the US on October 19, 2018 and in the UK on March 1, 2019. For full international release information, click here.
Does content like this matter to you?
Become a Member and support film journalism. Unlock access to all of Film Inquiry`s great articles. Join a community of like-minded readers who are passionate about cinema - get access to our private members Network, give back to independent filmmakers, and more.