Respond to these rapid questions in our The Fabelmans quiz and we will tell you which The Fabelmans character you are. Play it now.
In the middle of the 20th century, a middle-class Jewish family named the Fabelmans was dispersed throughout several places. The clash between artistic fervor and individual responsibility, as well as the enigmas of genius and happiness, are at the center of Steven Spielberg’s movie about them.
Former concert pianist Mitzi (Michelle Williams), the matriarch, now works as a homemaker and piano instructor. Scientist and home movie enthusiast Burt (Paul Dano), the patriarch, works for a number of computer companies. One evening, Mitzi and Burt take their eight-year-old son Sammy (Mateo Zoryon Francis-DeFord) to see “The Greatest Show on Earth,” which is his first theater movie experience. A magnificent miniature-created train wreck serves as the film’s epilogue. In an effort to recreate the image, Sammy becomes fixated on it and requests for a train set, which he destroys, angering his father, who concludes that Sammy doesn’t value pleasant things. Instead of smashing the trains until they disintegrate, the mother proposes that the youngster record the trains colliding with his father’s video camera so that he can see one crash repeatedly. Sammy is a child prodigy who might even be a genius. Mitzi may infer this from the boy’s debut movie, which uses a variety of dynamic perspectives to capture the crash and use editing to heighten tension and offer up visual puns.
However, this is not merely a story about someone who is already skilled in something and improves upon it. It discusses the challenges of marriage, parenthood, and growing up as someone else’s child. It’s also about the miracle of talent, a concept that’s explored not only by the main characters Sammy, Mitzi, and Burt (who has genuine talent for science and engineering), but also by a supporting character in the form of Burt’s best friend Benny Loewy (Seth Rogen), who spends so much time at their house that he practically becomes a member of the family. Burt is a decent husband and father but is basically uninteresting (and, to his shame, knows it) and can be blandly dominating. It is clear that Mitzi connects with Benny more than she does with Burt. Benny is a man’s man, a funny, self-deprecating, and enthusiastic guy. He is equally talented as a partner and parent as Burt is in science, Sammy is in filmmaking, and Mitzi was in acting before she gave it up. While Benny is in the background using his brute strength to pull back a tree that Mitzi has clutched to and then release it to create an unplanned playground ride, Burt drones on to the sisters about how to start a campfire during a family camping trip. He is aware of what this family’s true needs and desires are.
From where do these presents originate? It is not merely a product of one’s genes, mentality, upbringing, or trauma. It’s enigmatic. Like the shark in “Jaws,” the UFOs in “Close Encounters of the Third Kind,” the miracles and catastrophes in “War of the Worlds,” the Indiana Jones and Jurassic Park films, and the explosions of gore and cruelty in Steven Spielberg’s R-rated historical epics, it appears out of nowhere. Sammy’s Uncle Boris (Judd Hirsch), a circus performer and storyteller, explains to him one night that individuals who recognize their talent must devote themselves to it rather than squander it; however, the more fervently they devote themselves, the more they may neglect their loved ones or feel as though they are failing them (which can induce guilt). An artist will struggle with this contradiction for all of time.
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A camera can be used to win friends, appease or manipulate enemies, woo potential romantic partners, glamorize and humiliate people, show them a better version of themselves that they could aspire to be, protect the artist from being hurt during difficult moments, smooth out or obstruct the truth, and outright lie. Sammy learns this at a young age, perhaps instinctively.
Sammy keeps developing his abilities throughout adolescence (which is when a thoughtful and subtle young actor named Gabriel LaBelle takes over). He obtains more versatile, better filmmaking tools. He discovers that he can puncture strips of film to make it appear as though the boys’ toy weapons are firing blanks, like in a genuine movie, after observing how his mother’s high-heeled foot punctured a fallen piece of sheet music on the living room carpet. Sammy earns a merit badge for photography when he directs a World War II combat movie starring his fellow Eagle Scouts, in large part because he is not just a technician but also a showman who has meticulously studied the plots of the movies he adores (John Ford’s “The Man Who Shot Liberty Valance” is a big one, and it just so happens to be about the tension between reality and myth).
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The family is then relocated to California by Burt. In a school full of tall, conventionally attractive WASPs, Sammy and his sisters appear to be the only Jewish students. Some of these WASPs bully Sammy because of his ethnicity. The family begins to crack, and while no one’s creativity was responsible for doing so, various expressions of Fabelman talent continue to poke at it, leading to tense scenes in which characters must choose whether to reveal a crucial but upsetting truth or keep it to themselves for the sake of maintaining domestic harmony (this movie’s interpretation of the famous Ford’s “Valance” line, “When the legend becomes fact, print the legend”)
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The now-legendary tale of Spielberg directing Joan Crawford in an episode of “Night Gallery” at the age of 19 is cut short in “The Fabelmans,” but it is replaced with a scene that is just as exciting: Spielberg’s brief encounter with his hero Ford, who is expertly cast by David Lynch and who takes almost as long to light a cigar as he does to speak to his visitor. Of course, Spielberg’s life narrative is far richer than that.
But just like plays or books, this is a movie, and movies can’t cover everything. The fundamental error that cripples so many film biographies (and autobiographies) is to try to cram every single moment that people might’ve heard of elsewhere into two-plus hours, making it impossible to linger on any one thing. Spielberg and his co-writer Tony Kushner (who worked with Spielberg on “Munich,” “Lincoln,” and “West Side Story”) avoid this. The director’s life is fictionalized by Kushner and Spielberg (taking his first writing credit since “A.I. “). This enables them to tantalize and dismiss a thought that viewers would have had in any case: How much of this actually occurred? Additionally, it allows them to focus on a few key scenes that have been updated for a Hollywood production aiming at the widest possible audience, and it allows them to tie everything together with a central query that any viewer can identify with: How do you define happiness? And can it be done without causing harm to others?
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It turns out that the answer is no. Three groups can be made up of every character in “The Fabelmans.” Some people become aware of their unhappiness and try to make changes. Others don’t change because they lack the guts (or ruthlessness) to make the necessary decisions. And the fortunate few don’t care since they’re already content.
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A large portion of the narrative is shaped by Kushner and Spielberg into stand-alone scenes having beginnings, middles, and finishes, much as in a stage play. But of course, Spielberg doesn’t film anything in a stereotypically “stagey” manner; rather, he once more exemplifies what Orson Welles noted about him early in his career: that he was the first significant director whose visual sensibility wasn’t influenced by the proscenium arch. Because Spielberg’s blocking is always done in the interest of developing people and illuminating issues, a large portion of the movie is conveyed in long takes that don’t feel ostentatious. Just take a look at the opening shot outside the theater, which closes with little Sammy silhouetted in the center of the frame: a human dividing line, with his mother on the other side and his father (who speaks about cinema in terms of photography and persistence of vision) on the other.
In the end, it all comes down to individuals discovering their true selves and deciding whether to fully commit to the path they believe would result in the most satisfaction. The experience is typified by Spielberg in that the film leaves important problems unanswered and conveys all the accompanying philosophical and aesthetic issues in a lighthearted manner (the final shot is a sight gag!). You believe he is providing for all of your needs and that everything is readily available. But the more time you spend contemplating it, the more you see how many gifts it offers.
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