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It’s a timepiece. It’s a painting. A chicken dinner is on the menu. a snippet of a conversational exchange
Throughout the course of “The Father,” these and other seemingly insignificant aspects of a person’s life gain greater significance and heartbreaking significance. It is a strange combination of mundane and unreliable, tactile and elusive, in the ever-shifting mind of Anthony Hopkins’ character, an 80-year-old Londoner who is succumbing to Alzheimer’s disease.
The writer/director Florian Zeller, working with the legendary Christopher Hampton (“Dangerous Liaisons,” “Atonement”) and adapting his prize-winning French play of the same name from 2012, has pulled off a stunning feat with this adaptation of the play. He transports us into the mind of the ailing Anthony Hopkins, allowing us to experience his confusion as if it were our own. His perspective includes that of his caretakers and loved ones who are attempting to calm his volatile temper and organize his jumbled memories, as well as their own. We never know what is true—or who is true—because characters come and go and take on a variety of names and identities depending on whether or not the main character recognizes them. Everyone and everything is fleeting, but each individual moment feels urgent and real.
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As Hopkins struggles to navigate this muddled jumble of the past and the present, he turns in a performance that is at once charismatic and ferocious, sometimes in the same sentence. The specificity of his technique is mind-blowing here, as he is asked to convey a wide range of feelings and emotions. However, there is also a softness and openness to his performance that we haven’t seen before. It represents some of Hopkins’ most accomplished and illustrious work throughout his long and illustrious career.
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And, in her role as his daughter, Anne, Olivia Colman consistently demonstrates that she is on an equal footing with him. As a passenger on this roller coaster, she must also struggle to maintain a British, stiff upper lip in the face of a situation that is steadily disintegrating. She’ll manage a smile as tears well up in her eyes or a slight flinch, but she’ll keep her cool and maintain her patience when her father says something rude or insulting to her. Colman is fantastic as always as our guide, to the extent that Zeller will allow us to have one.
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But, for the most part, we see the world through Anthony’s eyes, and at first glance, it appears to be a very peaceful place to be. Initial observations reveal him to be relaxing in his spacious, tastefully appointed London apartment on a pleasant afternoon, listening to opera. However, soon after, Anne pays him a visit and informs him that she has met someone and will be moving to Paris to be with them. His demeanor shifts instantly, and he lashes out in anger: “You?” he asks, seemingly incredulous at having been wronged. “Are you referring to a man?” In later years, as he comes to terms with the long-term implications of this news, his hurt is revealed on a more primal level: “So if I understand correctly, you’re leaving me, is that it?” “You’re turning your back on me.” His face droops a little, but he still manages to maintain a certain amount of control and bravado.
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Various variations of this type of conversation recur on a regular basis—for example, over where he placed his beloved watch or the cruel treatment he inflicted on his previous at-home caregiver. It also changes the tempo and the players right when we think we’ve got “The Father” down pat. Perhaps this isn’t Anthony’s apartment at all, but rather Anne’s, and she has invited him to stay with her. Perhaps she does have a husband after all, a man named Paul (Rufus Sewell), with whom she continues to reside. And, given their similar facial features, it’s possible that Olivia Williams is now portraying her in a clever bit of casting. The arrival of Imogen Poots as a potential candidate to care for Anthony brings some sunshine into his life, as it affords him the opportunity to flirt with a lovely young lady who he finds attractive. In his playful announcement, “It’s time for an aperitif!” He’s charming and randy at the same time. His other daughter, who was an artist, is also recalled by her; he wonders what happened to her painting, which was hung above the mantle at one point…. A great example of what a shock it can be when Zeller pulls the rug out from under us is Anthony’s first meeting with Poots’ Laura. This is never done in a gimmicky way, but rather as a reflection of the jarring changes occurring within the character’s mind and mood. We, too, are affected by them.
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However, while some instances of memory loss cause a jolt in the story and give Hopkins the opportunity to express his character’s frustration in a grand manner, much of what is happening throughout the film with the production design and editing is so subtle that you’ll find yourself wanting to rewind a few seconds just to appreciate the subtle differences. From different backsplash tiles in the kitchen to a rearranged bedroom to using a white grocery bag instead of a blue one to hold the chicken for roasting that night, production designer Peter Francis vividly creates various versions of this same, enclosed environment. And what editor Yorgos Lamprinos accomplishes here is both complex and understated to the point where it appears to be a magic trick taking place right in front of our eyes. With the difficult task of crafting a story that is both confusing and compelling at the same time, Lamprinos, our Los Angeles Film Critics Association winner for best editing, rose to the occasion with grace. Also of note is the score by Ludovico Einaudi, whose music has recently been heard in Chloé Zhao’s beautiful “Nomadland,” which mirrors the performances in the way it tugs at our heartstrings without being overly sentimental.
The fluidity of the narrative is reminiscent of Charlie Kaufman’s achingly melancholy drama “I’m Thinking of Ending Things,” which premiered in the fall of last year. When it comes to Kaufman’s story, it was steeped in his trademark surrealism, but what was so sad about both films was the way they depicted the notions of home and family, which should be safe havens, as fleeting. The people and imagery that we use to define ourselves may appear to be familiar, but there is something slightly off about them, and this is deeply unsettling. I believe it will be especially poignant for viewers who have witnessed a similar decline in the lives of members of their own families. However, it is possible that it will provide some consolation.
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