Manchester by the Sea (2016) Online HD
- 2016-11-18
- 135 min.
- Drama
- Big Indie Pictures, Pearl Street Films, CMP Entertainment, K Period Media, B Story, The Affleck/Middleton Project
- Casey Affleck, Michelle Williams, Kyle Chandler, Lucas Hedges, Gretchen Mol, Tate Donovan, Kara Hayward, Anna Baryshnikov, Matthew Broderick, Heather Burns, C.J. Wilson, Josh Hamilton, Erica McDermott, Tom Kemp, Ben O'Brien, Susan Pourfar, Robert Sella, Ruibo Qian, Richard Donelly, Virginia Loring Cooke, Quincy Tyler Bernstine, Missy Yager, Stephen Henderson, Mary Mallen, Chloe Dixon, Ellie Teeves, Christian J. Mallen, Oscar Wahlberg, Shawn Fitzgibbon, Jackson Damon, Jami Tennille, Liam McNeill, Allyn Burrows, Brian A. White, Danae Nason
- Kenneth Lonergan, Kenneth Lonergan, Jody Lee Lipes, Jennifer Lame, Lesley Barber, Douglas Aibel, Ruth de Jong, Jourdan Henderson, Florencia Martin, Melissa Toth
- 7.9 Count: 89
- After his older brother passes away, Lee Chandler is forced to return home to care for his 16-year-old nephew. There he is compelled to deal with a tragic past that separated him from his family and the community where he was born and raised.
- grief, dysfunctional family, death, legal guardian, dysfunctional life
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Review
MANCHESTER BY THE SEA (2016) **** Casey Affleck, Lucas Hedges, Kyle Chandler, Michelle Williams, CJ Wilson, Gretchen Mol, Matthew Broderick, Tate Donovan, Josh Hamilton, Kara Hayward, Anna Baryshnikov, Heather Burns. Affleck gives an Oscar worthy performance in a career defining performance as a New Englander handyman, Lee Chandler, who prefers to keep others at arms' length in an everlasting downward spiral wrestling with personal demons that comes to a head when his beloved brother Joe (Chandler) suddenly dies leaving him as guardian in trust to his nephew Patrick (aspiring newcomer Hedges who gives good thrust and parry with Affleck in dynamite chemistry) who also is dealing with his teenage hood and growing pains. Filmmaker Kenneth Lonergan (who has a funny cameo as an insulting bypasser) truly gets at the heart of what it means to grieve in piercing, poignant aplomb while letting his actors get at their inner core of feeling. Gorgeously shot with picturesque cinematography by Jody Lee Lipes suggesting Norman Rockwell's America and an unlikely source for one's personal hellish homecoming. Remarkable in its relative low-key balance and appreciative peppering of much welcome humor to an otherwise glum storyline. Affleck is truly remarkable and his reunion with Williams is one for the film vaults; one of the year's very best films and a must see. If there's one phrase that describes noted playwright Kenneth Lonergan's moving meditation on how a man broken by the ultimate family tragedy must now cope with a seemingly equal but in reality lesser tragedy�the death of a sibling�it's "life must go on." Indeed, Manchester by the Sea features two tragedies which affect Lonergan's protagonist Lee Chandler (Casey Affleck), a Boston handyman, with a hair trigger temper and surly disposition. Ironically, Lonergan introduces us to Lee's second tragedy first and makes it clear that this tragedy�the death of his 50 or so older brother Joe from a congenital heart condition�offers Lee in some measure an opportunity to overcome the demons of the more devastating earlier tragedy, which Lonergan wisely treats as a mystery until the film's midpoint.
Early on, Lonergan suggests that there's something terribly wrong emotionally with Lee. He provokes a fight at a bar and appears to revel in his victim's retaliation of beating him to a bloody pulp. Later, when he meets his friend's brother at the hospital to identify his brother's body, Lee inappropriately explodes in anger in front of a caring nurse and attending physician.
In a clever plot twist at the beginning of Act 2, Lonergan's mordant Lee (who soon we'll learn has a death wish), is thrust into the unenviable position of becoming guardian to his 16 year old nephew, Patrick, Joe's son. Lee, with his repressed rage, is the last person who should be given the responsibility of caring for a family member�and he's blindsided when he realizes that his brother never gave him an inkling of his plans for Patrick upon his demise.
The reality of Joe's death indeed has nothing to do with death but everything to do with life going on. Indeed the machinations in the second act�especially the interplay between Lee and Patrick�are Lonergan's way of suggesting that there is much comedy in the midst of tragedy. Whether the focus is on people in the community (the two paramedics unable to get a stretcher into the back of their ambulance) or one of the principals (Patrick and his girlfriend fumbling to put on their clothes after attempting sex with the girlfriend's mother knocking on the door), Lonergan is determined to lighten things up before explaining the tragedy of Lee's existence.
But before he does that, Lonergan must also do a bit of foreshadowing, so that there's some kind of setup for Lee's modest resurrection. Initially Lee is depicted as being unbending when he plans to uproot his nephew by taking him out of school, making him leave all his friends and bringing him to Boston, where he'll be isolated and unhappy. When that plan falls apart, he sends Patrick off to see if he can co-habit with his biological mother� that plan is a disaster as well; we soon learn that the mother's new husband is a Christian Fundamentalist who has no intention of giving Patrick his "space."
Finally Lonergan, in a series of flashbacks, reveals the root of Lee's devastating malady. One night when he was married, he went out to get some beers and forgot to close a screen in the fireplace, resulting in a fire that killed his three children. In perhaps the best and most shocking scene in the film, after he's informed of the death of his children at the police station, he grabs a deputy's gun and tries to shoot himself in the head�only to be wrestled down by the attendant officers. One only wonders why Lee didn't attempt suicide again.
Lee must undergo one last baptism of fire� and that's when he runs into his ex-wife Randi (Michelle Williams) on the street who begs his forgiveness by admitting that she said many horrible things to him at the time when their children were killed. She wants to be close to Lee again but he can't open up. Mick LaSalle, writing in the SF Chronicle, couldn't have said it better when he wrote: "People don't always recover. Some things are so awful that recovery is simply not possible. Likewise, in the aftermath of tragedy, most people aren't completely destroyed. They don't end up in a ditch or in a straitjacket. They simply remain at a base level of pain that never ends, that never gets better and never gets worse."
But somehow there was some movement in a positive direction for Lee. As a result of his relationship with his nephew and the confrontation with his ex-wife, shall we say there was a softening up? At film's end, Lee is no longer just thinking about himself� he devises a plan for Patrick to live with Joe's friend (whom we met much earlier at the hospital) so he can remain in town but still able to visit Lee in Boston.
Lonergan, in his brilliant portrait, suggests that the anomalous tragedy that befell Lee does not separate him emotionally from you or me. Most of us are afraid of our own repressed anger (or even rage), which may lead to a breakdown and resulting catharsis involving the expression of great sorrow. Lee's problem was that he was blocked from following through on his rage so he could experience the sorrow.
Casey Affleck's performance will probably earn him a Best Actor Award at the upcoming Academy Awards, and additional special mention should be made of Lucas Hedges in his most convincing portrait of the beleaguered nephew. Michelle Williams also was quite affecting especially in the final confrontation with Affleck, pouring out her heart in remorse for previous words of anger.
Kenneth Lonergan is one of our few writers today who can deliver multi- dimensional characters and write comedy and tragedy on the level of the great writers of yesteryear. Manchester by the Sea delivers an impeccable and moving Weltanschauung from its opening scene.
I see no problems with this movie. A masterclass of filmmaking on every level. The direction is superb, the cinematography is gorgeous, the music is great, and the acting is some of the best ensemble work I've seen in a very long time. Lonergan uses an immense amount of poise in this movie, making it so that it is not overly film like. By that I mean about halfway through this movie I forgot that it was a movie. I was watching real life. It was like a freaking documentary. Of course in all facets this is not a documentary but everything in it is so unbelievably believable it's hard to put into words. That is a major compliment to Lonergan and especially to Casey Affleck. I will be upset if he doesn't win the Oscar this year. His performance is so understated and so believable. Like I said, I felt like I was watching real life, and Casey Affleck was no longer Casey Affleck. He was Lee Chandler. His performance is quiet but powerful. Every frame that he is on screen I felt bad for him, which is what they were going for. Michelle Williams is in the movie for like 6 minutes and every time she showed up she stole every word. Lucas Hedges is fantastic in the movie as well. The story is sad though. There is not a happy thing you can really take out of this movie. It's depressing and sad but at the same time very funny. There were times when the entire theater I was in would burst out laughing. To all those complaining that the pacing is slow, it's supposed to be slow. This is a depiction of life and a study of one humans journey through one really terrible life. Life is slowly paced and that's what the movie was going for. Look, if you like film then this is essential viewing this year. It's not a fun movie to see. You will probably get really sad, you may cry, you may feel a pain in the pit of your stomach whenever you see these characters. But in the end it is a painstakingly wonderfully crafted film. Every element of it is exemplary work from all parties involved. It's slow, sad, depressing, painful, beautiful, funny, wonderful and all around great in every way. 10/10
Just heard about this film from a friend a few days ago. Being a long time fan of Casey Affleck, and hearing it was a life like family drama set in Manchester, Massachusetts, I thought it a nice way to spend a Saturday evening. Emotions ran high one minute with laughter, and with gut wrenching sadness the next. Character development was a treasure to behold. Some people do not like the use of flashbacks. However, I don't see this film working any other way. Had it been in chronological order, the overall impact would not have been the same. It could not have been more perfectly cast. Casey Affleck did not have to say a word in so many scenes and you could just FEEL what he was feeling, and thinking. Lucas Hedges was magnificent. And Michelle Williams, despite small screen time, was at her best. Truly a little gem that stays with you, and makes you grateful for all the good in your own life. After some time, I would love to re visit this film.
Yes, Affleck does a fine job of demonstrating "man with grief."
But what really struck me about the film was its devastating indictment of male privilege and the havoc this brings to not only women and children but men too. The lead character is an emotionally stunted, alcoholic, irresponsible young father who kills his (and wife's) 3 children thru drunken negligence; the kids burn to death in a house fire he starts. The police immediately let him off saying "everyone makes mistakes." He and his wife split, and a few years later they run into one another, and she apologies to him for "saying terrible things" to him after he killed their kids (well, yeah!) She also tells him she still loves him. (Why do women do this?) A few years after he kills his children, he's still drinking, prone to assaulting people, has made no effort to deal with his stuff, and yet (incredibly!) his brother -- who dies young -- names him as guardian of his nephew. The nephew has an absent mother who wants to return to the boy's life, but Affleck's character doesn't want the boy with the mom because she's a "crazy, alcoholic," though she is portrayed as having at least partially stabilized her life. I guess he and his brother both feel that the boy is better off with a homicidal crazy drunk than with the mother, who is merely a crazy (former?) drunk. Again, the authorities don't step in to suggest that the boy shouldn't be with the uncle. No surprise, Affleck's character emotionally abuses the boy (or at least offers no emotional support to the boy, whose father has just died) and ultimately Affleck's character abandons the boy to be cared for by others. Grand total: 2 mothers deprived of their children, 3 dead kids, 1 abandoned kid, and several people violently assaulted.
Yet, the entire point of the movie is that we are supposed to see and empathize with this man's grief and his guilt over killing his kids. In the film, other characters walk on egg shells around him, "understanding his pain," and no one ever mentions his drinking problem to him. One wonders: if he had ever been held accountable, would he actually have been better able to deal with his grief, his guilt, his drinking? But we won't know. As in real life, the man is allowed to do as he pleases, everyone walking on egg shells hoping to avoid his violence, everyone "respecting" his...what?...privacy?, with his drinking and emotional problems unaddressed. The toll on bystanders, children, partners, and himself is staggering. So sad, but so true.
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