MIDNIGHT SPECIAL: Jeff Nichols Shines His Ever-Loving Light

With only four movies to his name so far, and with features ranging in genre from coming-of-age dramas (Mud) to quasi-science fiction (Take Shelter), Jeff Nichols‘ films have at least one thing in common (other than that they all star Michael Shannon): they are all intimate productions, both in style and in their focus on the tight-knit relationships around us. Often set in the American South where Nichols himself grew up, his films deal with familial struggles and upsets in usually uneventful communities.

Though Midnight Special is much larger in scope than any film he has made before, such an intimacy is just as prominent. I’ve often felt that Nichols is one of the great lesser-known directors working today, and his latest effort does not disappoint.

Mysterious and tense

Midnight Special begins with three people, who appear to be on the run from the law: Lucas (Joel Edgerton), Roy Tomlin (Michael Shannon), and Roy’s 8-year-old son Alton (Jaeden Lieberher). Unbeknownst to the people chasing them, but well known within their own community, Alton has mysterious abilities, which include visions and prophecies that are usually accompanied by a glowing light that shines from his eyes or hands. It’s not yet known where the three are going, or why they are on the run, but we find out as the film progresses.

The tenseness of Midnight Special is effectively wrought right from the get-go, since we are thrown in the midst of the action rather than have a build-up to what’s happening on-screen. Much of the film is this way: we start with many questions, and though some of them are answered, we end up with even more by the end. It’s a potential issue with any mystery – how do you keep audiences engaged without either keeping them in the dark or giving away too much? Nichols often walks a tightrope between these two, and though the end may be too revealing for some, it is mostly a worthy and satisfying conclusion.

Epic in scope, yet intimately wrought

As mentioned earlier, Midnight Special is the most grandiose effort of Jeff Nichols to date. Though it shares the slight sci-fi element with Take Shelter, it is clearly his largest budgeted film, mostly due to some truly impressive special effects. The way that the film relates to his past efforts, then, is through the father-son relationship between Roy and Alton, in addition to the connections with their old community, all of whom seem to worship the boy. Intimacy is clearly Nichols‘ strong-suit, and he often divulges this without excessive dialogue – just a simple glance or a few words exchanged are somehow enough.

Such an emotional bond is also managed by the performances of the three principal leads, played by Shannon, Edgerton, and Lieberher. Shannon in particular, as a Jeff Nichols regular, is a definite highlight. Mostly known for his hard-edged personas, here Shannon gives a surprisingly sensitive performance. Though Roy’s motives are first uncertain from the start, it is clear that he is always acting for the benefit of his gifted son.

As a character separate from humanity, Lieberher plays Alton perhaps a little too distantly, at times even appearing bored with his emotionless glances rather than contemplative. It’s not as strong a performance as, say Jacob Tremblay from last year’s Room, but it’s still far from hollow. Kirsten Dunst, hot off her career-defining role in the second season of Fargo, also gives a heartfelt performance, though her character did feel slightly underused in comparison to both Edgerton and Shannon.

The idea of Alton being worshiped almost as a godlike figure will obviously bring up the subject of religion. Due to his powerful abilities, Alton is adored, and when we hear the community members speak later in the film, there is a clear reverence in their voices. He was a disturbance in a small community that likely had none, and as such, the community gathered around him. Having just seen Batman v Superman and suffering through the thrown-in-your-face religious overtones of that film, it was refreshing to see the subtlety with which Nichols treats the subject here. Alton isn’t necessarily a God; he’s just a boy among insects.

The American South

Even more so than the performances or the religious undertones, Midnight Special is a mesmerizing and beautifully made film. Jeff Nichols’ Director of Photography regular Adam Stone creates perhaps his most dazzling work here, using natural light in a hypnotic manner. A quick shot of schoolbuses rolling down a hill just after sunset, or the glorious sunrise in a field of reeds are just a couple examples.

The South is displayed in a nostalgically familiar way, despite the brash disturbances that often accompany Alton on his journey. David Wingo‘s otherworldly yet softly moving soundtrack also alludes itself to the tone of the film.

Conclusion

Part sci-fi, part chase film, yet mostly a story about an unusual father-son relationship, Midnight Special is a one-of-a-kind experience. Bolstered by some strong performances and some beautifully shot depictions of the American South, it is yet another shining example of Jeff Nichols‘ ever-growing stack of wonderfully engaging films.

What did you think of Midnight Special? How would you compare it to the rest of Jeff Nichols’ work?