There is no atmosphere for a movie quite as unforgiving as the Cannes Film Festival. If your film has the goods, Cannes can turn it into a sensation, bringing Oscar glory and critical acclaim in an instant. But if your movie doesn't live up to the expectations of critics and the notoriously picky French festival-goers, Cannes can doom your movie. In the context of this year's awards season, many pundits have noted that Amazon Studios made a fatal miscalculation when they brought Wonderstruck to the prestigious summer festival. Anticipation was running high for Todd Haynes' follow-up to the beloved Carol, which remains one of the most sumptuous and devastating love stories of the last several years. Although some were skeptical about the idea of Haynes directing what is essentially a children's film, the film entered Cannes as one of the hottest titles of the festival.
But the reception was surprisingly lukewarm, and there were few critics willing to go to bat for the film. The reviews were solid, but throughout its entire run on the festival circuit, Wonderstruck never managed to build the kind of strong buzz necessary to become a must-see fall offering. As such, it has barely made a dent at the box office, while also falling almost entirely out of the awards race. And that's really unfortunate, because despite some glaring flaws that make it a complicated experience, Wonderstruck is a truly rewarding adventure. However, it isn't hard to understand the mixed feelings- this is a film that tested my patience at times, and it's often difficult to see where Haynes is going or what he's really trying to say. But if you settle in and let the journey take you away, Wonderstruck proves to be an enchanting, even magical time at the movies. Heartbreaking and whimsical in equal measure, this film is a tender, quiet, and uniquely peculiar delight.
From a young age, Ben (Oakes Fegley) has led a difficult life. He never knew his father, and shortly after his 12th birthday, his mother (Michelle Williams) was killed in a car accident. When the story begins, Ben is still grieving, turning his attention to his scientific curiosities while simultaneously attempting to hold onto the memories of his family. But even before his mother passed, Ben was always determined to find his father. That search continues after her death, and late one night, Ben calls a phone number that he thinks could bring them together. Unfortunately, there's a lightning storm that night, and Ben loses his hearing in a freak accident. As he grapples with his new disability, Ben abruptly decides to make a trip to the foreign world of 1970s New York, moving away from the confines of his Minnesota home in the hopes of locating his long-lost dad.
But this is only half the story. Wonderstruck's other half centers on a young girl named Rose (Millicent Simmonds), who also happens to be deaf. She has a frightening and domineering father, but she's in love with the magic of movies and museums, exploring the world with a passion and love for learning that sometimes puts her in tricky situations. Rose also has a movie star mother in Lillian Mayhew (Julianne Moore), a silent film starlet who she idolizes. This proves to be a blessing and a curse for Rose, as her prickly mother often neglects her need for attention. But as Rose explores New York City in 1927, she'll discover all kinds of wonders, changing her life for the better along the way. While Rose and Ben's stories couldn't be more different, they share an unusual connection, one that links their lives across time and space.
Wonderstruck is a challenging film, and I wrestled with my feelings about it until the very end. The competing narratives present a difficult task for even a filmmaker like Todd Haynes, whose formal mastery is only matched by his innovative spirit of experimentation. If you've ever seen Carol or Far from Heaven, you know that Haynes is a genius storyteller. But as I watched this film, I kept wondering if the director could actually pull it off, if he could bring together the warm pathos of these two different stories in an effective way. It isn't exactly an easy road to get there, and I think the first act of this film is particularly bumpy. While watching the film, my mind kept returning to The Godfather Part II, and how Francis Ford Coppola had to cut down on the number of times he jumped between the separate stories of Michael Corleone and Young Vito. Wonderstruck suffers from that same editing predicament, and it's a problem that threatens to derail the entire film.
However, Haynes and screenwriter Brian Selznick (who also wrote the book) know precisely what this film needs to succeed, and while the approach is somewhat strange and unconventional, it works. Wonderstruck is basically a silent film, and its reliance on cinematographer Ed Lachman's lush photography and composer Carter Burwell's gorgeous score gives the movie a steady current of genuine emotional feeling. Selznick's books (he also wrote The Invention of Hugo Cabret, which was the basis for Martin Scorsese's Hugo) already have an air of cinematic energy, which makes it much easier to mold a beautiful, faithful adaptation. Nonetheless, the old-school charm of something like Wonderstruck is a direct contradiction to modern Hollywood's inhibitions, and its methodical approach to storytelling will likely prove to be difficult for many audiences. Even as someone who knew what to expect, I found myself bored at times.
Ultimately, this is a prime example of a movie where the destination is more powerful than the journey, and Wonderstruck's third act is overflowing with dazzling filmmaking. Haynes balances the classic, almost lyrical feeling of the 1920s-set drama with the grungy, grimy feel of 1970s New York, two eras that could not be more different on the surface. But there's an underlying sweetness to everything that happens in the film, and the finale displays such depth of emotional feeling that it's hard not to get swept up in the magic. Haynes' delicate cinematic eye is patient and rich- he has a way of making the classical feel revolutionary, creating a sense of visionary innovation within stories that draw on the bygone eras of America and the complex history of cinema. Even the conclusion of Wonderstruck, a sequence that is deliberately meant to touch your emotions, feels unique and strange. Haynes makes choices that no other director would think of making, and that sense of amazement and discovery helps the film overcome some pacing issues that likely came into play in the editing room.
Haynes is also working with a talented cast, and they're tasked with doing something that is surprisingly difficult- acting mostly without words. Oakes Fegley sometimes struggles with a script that gives him rather clunky, obvious dialogue to work with, but he continues to display a determined spirit that shines during the film's most delicate moments. He's matched only by Millicent Simmonds (who is deaf in real life), who does excellent work as a young girl with an uncontrolled passion for the world around her. Rounding out the young leads is the terrific Jaden Michael, but of course, the best performance in the cast comes from Julianne Moore. In a dual role, she's nothing shy of mesmerizing, and her turn here is infused with an unforgettable kind of profound sadness. I don't think it's a coincidence that the whole film finally clicks into place when Moore shows up.
Wonderstruck is certainly a flawed film, one that I think runs into some speed bumps that it can't quite overcome. Nonetheless, it's a gently moving film, one with some delightful cinematic images and moments that contain a wondrous sense of feeling. Haynes continues to do interesting work with concepts that could be stale in the hands of a different filmmaker, and his collaboration with Selznick proves to be a fruitful one. This won't go down in the Haynes canon as one of his best efforts, but it's still an engaging and impressive film. It can feel like a frustrating enigma at times, and yet it ultimately works as a beguiling and charming children's film, one overflowing with outstanding, intriguing cinematic flourishes that make the journey a worthwhile one.
THE FINAL GRADE: B (7.4/10)
Images courtesy of Amazon/Roadside Attractions
But the reception was surprisingly lukewarm, and there were few critics willing to go to bat for the film. The reviews were solid, but throughout its entire run on the festival circuit, Wonderstruck never managed to build the kind of strong buzz necessary to become a must-see fall offering. As such, it has barely made a dent at the box office, while also falling almost entirely out of the awards race. And that's really unfortunate, because despite some glaring flaws that make it a complicated experience, Wonderstruck is a truly rewarding adventure. However, it isn't hard to understand the mixed feelings- this is a film that tested my patience at times, and it's often difficult to see where Haynes is going or what he's really trying to say. But if you settle in and let the journey take you away, Wonderstruck proves to be an enchanting, even magical time at the movies. Heartbreaking and whimsical in equal measure, this film is a tender, quiet, and uniquely peculiar delight.
From a young age, Ben (Oakes Fegley) has led a difficult life. He never knew his father, and shortly after his 12th birthday, his mother (Michelle Williams) was killed in a car accident. When the story begins, Ben is still grieving, turning his attention to his scientific curiosities while simultaneously attempting to hold onto the memories of his family. But even before his mother passed, Ben was always determined to find his father. That search continues after her death, and late one night, Ben calls a phone number that he thinks could bring them together. Unfortunately, there's a lightning storm that night, and Ben loses his hearing in a freak accident. As he grapples with his new disability, Ben abruptly decides to make a trip to the foreign world of 1970s New York, moving away from the confines of his Minnesota home in the hopes of locating his long-lost dad.
But this is only half the story. Wonderstruck's other half centers on a young girl named Rose (Millicent Simmonds), who also happens to be deaf. She has a frightening and domineering father, but she's in love with the magic of movies and museums, exploring the world with a passion and love for learning that sometimes puts her in tricky situations. Rose also has a movie star mother in Lillian Mayhew (Julianne Moore), a silent film starlet who she idolizes. This proves to be a blessing and a curse for Rose, as her prickly mother often neglects her need for attention. But as Rose explores New York City in 1927, she'll discover all kinds of wonders, changing her life for the better along the way. While Rose and Ben's stories couldn't be more different, they share an unusual connection, one that links their lives across time and space.
Wonderstruck is a challenging film, and I wrestled with my feelings about it until the very end. The competing narratives present a difficult task for even a filmmaker like Todd Haynes, whose formal mastery is only matched by his innovative spirit of experimentation. If you've ever seen Carol or Far from Heaven, you know that Haynes is a genius storyteller. But as I watched this film, I kept wondering if the director could actually pull it off, if he could bring together the warm pathos of these two different stories in an effective way. It isn't exactly an easy road to get there, and I think the first act of this film is particularly bumpy. While watching the film, my mind kept returning to The Godfather Part II, and how Francis Ford Coppola had to cut down on the number of times he jumped between the separate stories of Michael Corleone and Young Vito. Wonderstruck suffers from that same editing predicament, and it's a problem that threatens to derail the entire film.
However, Haynes and screenwriter Brian Selznick (who also wrote the book) know precisely what this film needs to succeed, and while the approach is somewhat strange and unconventional, it works. Wonderstruck is basically a silent film, and its reliance on cinematographer Ed Lachman's lush photography and composer Carter Burwell's gorgeous score gives the movie a steady current of genuine emotional feeling. Selznick's books (he also wrote The Invention of Hugo Cabret, which was the basis for Martin Scorsese's Hugo) already have an air of cinematic energy, which makes it much easier to mold a beautiful, faithful adaptation. Nonetheless, the old-school charm of something like Wonderstruck is a direct contradiction to modern Hollywood's inhibitions, and its methodical approach to storytelling will likely prove to be difficult for many audiences. Even as someone who knew what to expect, I found myself bored at times.
Ultimately, this is a prime example of a movie where the destination is more powerful than the journey, and Wonderstruck's third act is overflowing with dazzling filmmaking. Haynes balances the classic, almost lyrical feeling of the 1920s-set drama with the grungy, grimy feel of 1970s New York, two eras that could not be more different on the surface. But there's an underlying sweetness to everything that happens in the film, and the finale displays such depth of emotional feeling that it's hard not to get swept up in the magic. Haynes' delicate cinematic eye is patient and rich- he has a way of making the classical feel revolutionary, creating a sense of visionary innovation within stories that draw on the bygone eras of America and the complex history of cinema. Even the conclusion of Wonderstruck, a sequence that is deliberately meant to touch your emotions, feels unique and strange. Haynes makes choices that no other director would think of making, and that sense of amazement and discovery helps the film overcome some pacing issues that likely came into play in the editing room.
Haynes is also working with a talented cast, and they're tasked with doing something that is surprisingly difficult- acting mostly without words. Oakes Fegley sometimes struggles with a script that gives him rather clunky, obvious dialogue to work with, but he continues to display a determined spirit that shines during the film's most delicate moments. He's matched only by Millicent Simmonds (who is deaf in real life), who does excellent work as a young girl with an uncontrolled passion for the world around her. Rounding out the young leads is the terrific Jaden Michael, but of course, the best performance in the cast comes from Julianne Moore. In a dual role, she's nothing shy of mesmerizing, and her turn here is infused with an unforgettable kind of profound sadness. I don't think it's a coincidence that the whole film finally clicks into place when Moore shows up.
Wonderstruck is certainly a flawed film, one that I think runs into some speed bumps that it can't quite overcome. Nonetheless, it's a gently moving film, one with some delightful cinematic images and moments that contain a wondrous sense of feeling. Haynes continues to do interesting work with concepts that could be stale in the hands of a different filmmaker, and his collaboration with Selznick proves to be a fruitful one. This won't go down in the Haynes canon as one of his best efforts, but it's still an engaging and impressive film. It can feel like a frustrating enigma at times, and yet it ultimately works as a beguiling and charming children's film, one overflowing with outstanding, intriguing cinematic flourishes that make the journey a worthwhile one.
THE FINAL GRADE: B (7.4/10)
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