I will watch Jake Gyllenhaal in just about anything. In today's day and age, that's not something I can say for many actors. After Prince of Persia: The Sands of Time face-planted in 2010, Gyllenhaal committed to serious adult fare, pushing himself into different, challenging directions. Starting with the one-two punch of Source Code and End of Watch, the 36 year-old actor has jumped into a spectacular variety of genres, rivaling Leonardo DiCaprio as the only superstar who has resisted the urge to tackle superhero franchise fare. From his collaborations with Denis Villeneuve, to his landmark turn as Lou Bloom in Nightcrawler, to his outrageous supporting role in Bong Joon-ho's Okja, Gyllenhaal has refused to play it safe. He doesn't always pick the right project (see: Life, Southpaw), but his appearance in a film practically ensures that it'll be something interesting.
If Gyllenhaal wasn't the star of Stronger, I probably would have never had any interest at all. I've grown weary of Hollywood's shallow tributes to the heroes of tragic events, and the Boston Marathon bombing already received a cinematic treatment in the form of Peter Berg's relatively mediocre Patriots Day. But despite my skepticism, I knew that Gyllenhaal would hit a home run with his performance here, and early word on the street was that director David Gordon Green had crafted a film that resisted the urge for blind heroic patriotism. And sure enough, Stronger is a smart and engrossing biopic, one that never hides the flaws and faults of its protagonist. A tragedy does not make a man great, and this messy, multi-dimensional portrait of bombing survivor Jeff Bauman is so raw and unfiltered in its emotional power that it's impossible to not be moved. While it can't help but revert back to hero cliches by the time its conclusion rolls around, Stronger is a touching and powerful story, led by two of the best performances from Gyllenhaal and Tatiana Maslany.
In just about every way, Jeff Bauman (Gyllenhaal) is your average Joe, living out his life in a lower-class area of Boston. He works at Costco, but he's not particularly good at his job, leaving shifts early to go watch Red Sox games. He had a girlfriend, Erin (Maslany), but she broke up with him because he's simply too unreliable. So, Jeff just sticks to his routine. He goes to work, he goes to the bar with his meathead buddies, and then he comes back home, where he lives with his mother (Miranda Richardson). But Jeff is really likable. It's hard to say no to him. Even if he's kind of a mess, deep down inside, Jeff is truly a good guy. When Erin runs into Jeff in a bar the day before she's set to run the Boston Marathon, he makes a big display of helping her raise money for the cause, passing around a jar and encouraging everyone to skip a round to help. He tells Erin that he's gonna be waiting for her at the finish line, holding a big sign and supporting her on the big day.
Jeff wants to win Erin back, but she suspects that this is just one of his empty promises. Unfortunately, this is not one of those times. Jeff does show up, and in the midst of a tragic terror attack, he loses both of his legs. While he's in the hospital, Jeff is able to help the FBI locate the first suspect, making him a hero in Boston circles. As he prepares to move forward with his life, Jeff is forced to confront two massive obstacles- the challenge of learning to adapt to a life without his legs, and the daunting task of accepting his role as an iconic Boston hero. Jeff struggles with PTSD and the inconsiderate opportunism of several people around him, but with Erin's help and a newfound drive for life, the genial, flawed everyman is able to overcome his unthinkable situation.
David Gordon Green has directed indie drama George Washington, stoner comedy Pineapple Express, and will be at the helm for next year's remake of Halloween. If anybody could deliver a subversive take on the feel-good biopic, it's him. Green and rookie screenwriter John Pollono are hellbent on avoiding the heroic tropes that we've come to associate with this kind of story, the treacly jingoism that is the very definition of mediocrity. In a strange way, Stronger finds a sense of kinship with Ang Lee's Billy Lynn's Long Halftime Walk, another film that thumbs its nose at heroic tributes and the intentions behind them. I admire the boldness of what Green and Pollono have done here- there's a point in the movie where they basically call out "Boston Strong" as a BS marketing ploy. These things may make people feel good about themselves, but they're meaningless salutes, often twisted to make a quick buck off a tragedy. Bauman is more triggered than delighted by these supposed acts of kindness, and it boils down to a simple question for him- am I a hero?
Ultimately, Stronger's political messages are rather subtle- the surprising work really happens on a character level. Jeff Bauman is never portrayed as a saint, and the film challenges our notions of what makes someone truly heroic. It builds to a rather remarkable concept for a Hollywood film- the idea that a person's basic instincts won't change due to tragedy. Jeff Bauman may lose his legs, he may find himself thrust into fame, and he may discover that he's the symbol for something much greater than his own life. But what if the circumstances don't necessarily dictate the response? Why wouldn't he respond to the most challenging event of his adult life by reverting back to being exactly the person he was before an unspeakable tragedy? It's a fascinating idea to play with, and Green demonstrates a deft touch in his balance of Bauman's warm likability and his devastatingly human flaws.
It doesn't hurt when Jake Gyllenhaal is the star of your movie. He's sensational as Bauman, and it's a role that further proves his versatility as an actor. This is arguably Gyllenhaal at his most outwardly emotional, and while it limits the contemplative subtlety of his performance, it makes it hard not to have a profound reaction to the material. He balances the grueling physicality of the role with Bauman's intense psychological torment, and I sincerely hope that the Academy recognizes his work come January. Equally deserving of recognition is Tatiana Maslany, who is a knockout as Erin, Jeff's no-nonsense girlfriend. It's easy to see this character becoming a thankless part in a lesser film, but Maslany's excellent blend of fierce determination and wrenching sadness ensures that Erin is at the forefront of Jeff's story. Credit should also be given to Miranda Richardson, who is dynamite as Jeff's chain-smoking, hard-drinking mother.
As intense as Stronger can be, and as hard as it wants to prove that it isn't your typical biopic, it's a deliciously disappointing kind of dramatic irony that it ends up in the same place as every feel-good movie ever made. You can shape the journey all you want, but that destination will always be the same. Instead of ending on a note of uncertainty, instead of focusing on the complex nature of progress and setbacks, Stronger sends the audience out on a high, showing Jeff throw out the first pitch for his beloved Red Sox. The Jeff Bauman story wasn't one of total transformation- his flaws were not suddenly absolved by understanding the gravity of his situation. Green and Pollono somehow manage to skirt around the fact that Jeff and Erin divorced earlier this year, something that was widely reported in the press. Even after carefully crafting a messy portrayal of Bauman for nearly two hours, the film feels destined to end on a moment of triumph, highlighting the kind of salute that was previously condemned as opportunistic and ill-considered.
Look, I'm not saying that Bauman's journey wasn't inspirational- it takes a great deal of fortitude and personal strength to even want to go on after such a horrific event. I don't know if I could have done it, and I have massive respect for the guy. But after creating such an honest, warts-and-all portrait of his trials and tribulations, it feels disingenuous for the filmmakers to punctuate the film with such a blatantly uplifting conclusion. Stronger is still a moving, astonishingly well acted piece of work, one that feels harsh and gripping in an emotionally poignant way. I just wish that it had the courage to execute its vision until the final moments. But it's an engaging, compelling journey, and it's worth seeing for Gyllenhaal's brilliant turn alone. There's a lot to love here, and even if it ends up falling short of its lofty aspirations, I admire the bold, striking final product.
THE FINAL GRADE: B+ (7.7/10)
Images courtesy of Roadside Attractions
If Gyllenhaal wasn't the star of Stronger, I probably would have never had any interest at all. I've grown weary of Hollywood's shallow tributes to the heroes of tragic events, and the Boston Marathon bombing already received a cinematic treatment in the form of Peter Berg's relatively mediocre Patriots Day. But despite my skepticism, I knew that Gyllenhaal would hit a home run with his performance here, and early word on the street was that director David Gordon Green had crafted a film that resisted the urge for blind heroic patriotism. And sure enough, Stronger is a smart and engrossing biopic, one that never hides the flaws and faults of its protagonist. A tragedy does not make a man great, and this messy, multi-dimensional portrait of bombing survivor Jeff Bauman is so raw and unfiltered in its emotional power that it's impossible to not be moved. While it can't help but revert back to hero cliches by the time its conclusion rolls around, Stronger is a touching and powerful story, led by two of the best performances from Gyllenhaal and Tatiana Maslany.
In just about every way, Jeff Bauman (Gyllenhaal) is your average Joe, living out his life in a lower-class area of Boston. He works at Costco, but he's not particularly good at his job, leaving shifts early to go watch Red Sox games. He had a girlfriend, Erin (Maslany), but she broke up with him because he's simply too unreliable. So, Jeff just sticks to his routine. He goes to work, he goes to the bar with his meathead buddies, and then he comes back home, where he lives with his mother (Miranda Richardson). But Jeff is really likable. It's hard to say no to him. Even if he's kind of a mess, deep down inside, Jeff is truly a good guy. When Erin runs into Jeff in a bar the day before she's set to run the Boston Marathon, he makes a big display of helping her raise money for the cause, passing around a jar and encouraging everyone to skip a round to help. He tells Erin that he's gonna be waiting for her at the finish line, holding a big sign and supporting her on the big day.
Jeff wants to win Erin back, but she suspects that this is just one of his empty promises. Unfortunately, this is not one of those times. Jeff does show up, and in the midst of a tragic terror attack, he loses both of his legs. While he's in the hospital, Jeff is able to help the FBI locate the first suspect, making him a hero in Boston circles. As he prepares to move forward with his life, Jeff is forced to confront two massive obstacles- the challenge of learning to adapt to a life without his legs, and the daunting task of accepting his role as an iconic Boston hero. Jeff struggles with PTSD and the inconsiderate opportunism of several people around him, but with Erin's help and a newfound drive for life, the genial, flawed everyman is able to overcome his unthinkable situation.
David Gordon Green has directed indie drama George Washington, stoner comedy Pineapple Express, and will be at the helm for next year's remake of Halloween. If anybody could deliver a subversive take on the feel-good biopic, it's him. Green and rookie screenwriter John Pollono are hellbent on avoiding the heroic tropes that we've come to associate with this kind of story, the treacly jingoism that is the very definition of mediocrity. In a strange way, Stronger finds a sense of kinship with Ang Lee's Billy Lynn's Long Halftime Walk, another film that thumbs its nose at heroic tributes and the intentions behind them. I admire the boldness of what Green and Pollono have done here- there's a point in the movie where they basically call out "Boston Strong" as a BS marketing ploy. These things may make people feel good about themselves, but they're meaningless salutes, often twisted to make a quick buck off a tragedy. Bauman is more triggered than delighted by these supposed acts of kindness, and it boils down to a simple question for him- am I a hero?
Ultimately, Stronger's political messages are rather subtle- the surprising work really happens on a character level. Jeff Bauman is never portrayed as a saint, and the film challenges our notions of what makes someone truly heroic. It builds to a rather remarkable concept for a Hollywood film- the idea that a person's basic instincts won't change due to tragedy. Jeff Bauman may lose his legs, he may find himself thrust into fame, and he may discover that he's the symbol for something much greater than his own life. But what if the circumstances don't necessarily dictate the response? Why wouldn't he respond to the most challenging event of his adult life by reverting back to being exactly the person he was before an unspeakable tragedy? It's a fascinating idea to play with, and Green demonstrates a deft touch in his balance of Bauman's warm likability and his devastatingly human flaws.
It doesn't hurt when Jake Gyllenhaal is the star of your movie. He's sensational as Bauman, and it's a role that further proves his versatility as an actor. This is arguably Gyllenhaal at his most outwardly emotional, and while it limits the contemplative subtlety of his performance, it makes it hard not to have a profound reaction to the material. He balances the grueling physicality of the role with Bauman's intense psychological torment, and I sincerely hope that the Academy recognizes his work come January. Equally deserving of recognition is Tatiana Maslany, who is a knockout as Erin, Jeff's no-nonsense girlfriend. It's easy to see this character becoming a thankless part in a lesser film, but Maslany's excellent blend of fierce determination and wrenching sadness ensures that Erin is at the forefront of Jeff's story. Credit should also be given to Miranda Richardson, who is dynamite as Jeff's chain-smoking, hard-drinking mother.
As intense as Stronger can be, and as hard as it wants to prove that it isn't your typical biopic, it's a deliciously disappointing kind of dramatic irony that it ends up in the same place as every feel-good movie ever made. You can shape the journey all you want, but that destination will always be the same. Instead of ending on a note of uncertainty, instead of focusing on the complex nature of progress and setbacks, Stronger sends the audience out on a high, showing Jeff throw out the first pitch for his beloved Red Sox. The Jeff Bauman story wasn't one of total transformation- his flaws were not suddenly absolved by understanding the gravity of his situation. Green and Pollono somehow manage to skirt around the fact that Jeff and Erin divorced earlier this year, something that was widely reported in the press. Even after carefully crafting a messy portrayal of Bauman for nearly two hours, the film feels destined to end on a moment of triumph, highlighting the kind of salute that was previously condemned as opportunistic and ill-considered.
Look, I'm not saying that Bauman's journey wasn't inspirational- it takes a great deal of fortitude and personal strength to even want to go on after such a horrific event. I don't know if I could have done it, and I have massive respect for the guy. But after creating such an honest, warts-and-all portrait of his trials and tribulations, it feels disingenuous for the filmmakers to punctuate the film with such a blatantly uplifting conclusion. Stronger is still a moving, astonishingly well acted piece of work, one that feels harsh and gripping in an emotionally poignant way. I just wish that it had the courage to execute its vision until the final moments. But it's an engaging, compelling journey, and it's worth seeing for Gyllenhaal's brilliant turn alone. There's a lot to love here, and even if it ends up falling short of its lofty aspirations, I admire the bold, striking final product.
THE FINAL GRADE: B+ (7.7/10)
Images courtesy of Roadside Attractions
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