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The most heartwarming surprise in director Bill Pohlad’s “Love and Mercy” is also, in my opinion, the most improbable one to come out of the film. To put it another way, it’s a really good movie, and at times it’s even better than good. It appears on paper that the rise and fall and rise and fall and rise of genius musician Brian Wilson, a life story that, in what appears to be the most perverse way imaginable, disproves F. Scott Fitzgerald’s adage about there being no second acts in America, is too sprawling and chaotic to be condensed into a coherent, let alone compelling, cinematic narrative of conventional length.
While working from a daring script by Oren Moverman and Michael Alan Lerner and employing two top-tier actors to portray Wilson at two pivotal points in his life, veteran producer Pohlad (“Brokeback Mountain,” “12 Years a Slave”) lavishes his material with affection, meticulous detail, and empathetic imagination. As a result, regardless of how much you believe you already know about Wilson’s life, the film is both frighteningly watchable and frequently moving.
There are two distinct periods in the film, which are alternated between throughout. Wilson, played by Paul Dano, is the baby-faced musical genius of the Beach Boys in the mid-’60s, who’s burned out on the road life of the time. Even though he’s dealing with the resentful sniping of his abusive former manager father, the hostility of at least one bandmate who doesn’t understand why Brian isn’t writing more hits, and an increasingly fragile psychic state that is not helped by an exposure to LSD, Brian manages to get a significant amount of music out. Cusack portrays Wilson in the late 1980s, after he was allegedly resurrected from a complete psychotic break by psychological miracle worker Dr. Eugene Landy, who became so ingrained in Wilson’s life that he pretended to be a collaborator in the composition of Wilson’s music. Wilson’s music is based on the life of Dr. Eugene Landy, who is played by Cusack. Wilson, played by John Cusack, wanders aimlessly into a Cadillac dealership (despite the fact that he has a bodyguard trailing him and a mini-entourage trailing the bodyguard), where he immediately charms attractive young salesperson Melinda (Elizabeth Banks), who at first has no idea who the sweetly eccentric fellow is. In addition to telling her that he wants the car in which they’ve stolen a few precious moments away from the outside world, he scrawls her business card on the steering wheel of the car and places it on the steering wheel. “Lonely/Frightened/Scared” are the words he’s written on the page.
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Landy, played with terrifying intensity and smarm by Paul Giamatti, has evolved from someone in Wilson’s service to a nefarious Svengali by this point in the story. While his monstrous manipulations would be gratifying on their own, when juxtaposed with scenes of the younger Wilson shrinking in the face of his father’s disapproval—who beat him to deafness in one ear but from whom Brian still craves approval—or the cousin/bandmate who chastises him over jokey song lyrics and musical direction, they become genuinely heartbreaking and infuriating. It’s an effective suspense story, as Melinda grows closer to Brian under Landy’s paranoid gaze, and one wonders just how much fortitude Mr. Wilson’s new love interest has, and if she has that fortitude, can she get what she needs to deliver Brian from his “hell”? It gets quite tense at this point.
Faustina Love And Mercy Quiz
Throughout the show, Pohlad and Dano, as well as a host of excellent supporting players, recreate the creation of such groundbreaking pop works as Pet Sounds and “Good Vibrations,” which were released in 1966. When it comes to music-making scenes in movies, they’re usually about as convincing (if not less so) as film depictions of painters painting (which is to say, not at all). As a result, the extremely compelling scenes in which young Brian coaxes the crack L.A. session players known as “The Wrecking Crew” into accepting and then conjuring his sometimes eccentric musical visions feel almost miraculous. And Banks, who brings equal parts beauty-queen radiance and Girl Scout piety to her portrayal of Melinda (who did, spoiler alert, go on to become Mrs. Wilson after the events depicted in this film), has an interesting chemistry with Cusack, who alternates between being haltingly charming and tragically wrung-out at times throughout the film.
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The film is not without flaws: the hairpiece Giamatti wears throughout the film is so implausible that the filmmakers should have found a way to make a joke out of it. Even when Pohlad makes a blunders, he does so in a creative and entertaining manner. You wouldn’t expect to see an allusion to “2001: A Space Odyssey” in this film, but it turns out there’s one in there somewhere. And while I have to admit that it didn’t quite work for me, I have to give Pohlad credit for his bravery in trying it. In any case, there is more than enough genuine entertainment value in the film despite its flaws. Not only in terms of content, but also in terms of its fundamental belief in the goodness of people, in spite of all the terrible things that people can do. Similarly, Wilson’s music is heavily influenced by his philosophical outlook, a point that is hammered home as the closing credits roll.
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