Film ReviewsWakefield: Just Try To Go Home Again, Why Don’t You
Jul 14, 2017 Anchorage Press
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E.L. Doctorow wrote “Wakefield”, a short story that appeared in “The New Yorker” in January 2008. Wakefield is about a man—a well to do man—who does what many fantasize of doing, running away and watching his life go on without him. In the case of Howard Wakefield, the title character, the garage is as far as he can go, and that suits him just fine because his controlling nature is in control of him. The film by the same title is written and directed by Robin Swicord and stars Bryan Cranston as Howard Wakefield, and Jennifer Garner as Diana, his wife. Wakefield has a lot going for it, mainly, the eloquent narration, the star power, and the expert use of cinematic devices. Underlying its strengths are the solid literary references and the psychological and social critiques they bring; references rooted not only to Doctorow’s short story, but also in Nathaniel Hawthorne’s short story, of the same title, same plot, only in different times.
Swicord is to be fully credited for the marvelous adaptation of the literary works. Swicord has had a successful and hard-earned career in the film industry, she wrote notable works like The Curious Case of Benjamin Button (2008), Memoirs of a Geisha (2005), and The Perez Family (1995) to name a few. As a producer, Swicord brought to the screen works that include The Perez Family, Matilda (1996), and Little Women (1995). Swicord also has a few directorial titles under her belt, including The Jane Austen Book Club (2007); Wakefield is her first directorial work since then. Her writing is solid and smart, she is able to develop a strong narrative voice, that of Howard’s, with authority and sympathy. The latter is especially important because there are many reasons to dislike and judge Howard Wakefield as he engages in a self-prescribed and surreal experience with total disregard of his family.
The themes that run through the literary and film works include the isolation of the modern human being in society, the trappings of what is “normal”, and difficulties that come with relationships that people have outgrown or simply entered into with disingenuous. In current times, Wakefield also illustrates what white privilege is all about – the ability to step out of one's own life, abdicate responsibility, and still one’s loved ones are OK, their safety, livelihoods, and overall quality of life remains intact. The epitome of this privilege for Howard comes in the form of never having lost his options; he always had the cash, the car, the keys, etc. His brief period of enlightenment is brought on by a self-fabricated brush with something that resembles a homeless state but is never real. Howard always remained in control, and was always able to decide when to go home, just a few feet, across the garage. And, if all this were not enough, the hubris that drives Howard to step out of his life, is the same hubris that drives him back into it. So much for spiritual evolution; he could have just as easily simply gone to Burning Man.
The acting is very strong, and this is what gives the film an interesting direction, even after its conclusion, something for viewers to talk and think about. Cranston embodies the character flawlessly, and the narration that is his internal thought process, is delivered as if it were a beautifully choreographed ballet. Just across Howard’s garage attic window is the Wakefield household carrying on through the abandonment process and putting itself back together. Howard watches all this in his stalker staycation, and he is creepily focused on his wife. Diana doesn’t disappoint, if anything, she is far more resilient than Howard expected, and this is both rewarding for him from afar but could likely backfire when he decides to reclaim her as his wife and property. Swicord creates a world on a foundation of strong writing, an exceptional musical score that she expertly leverages to deliver a film worthy of both Doctorow and Hawthorne. Swicord’s Wakefield is not only compelling, but uncomfortably so.
Beartooth
R for some sexual material and language
Runtime: 1:46
Mon 7/17, at 8:00 PM, and Tues 7/18 at 8:00 PM
Swicord is to be fully credited for the marvelous adaptation of the literary works. Swicord has had a successful and hard-earned career in the film industry, she wrote notable works like The Curious Case of Benjamin Button (2008), Memoirs of a Geisha (2005), and The Perez Family (1995) to name a few. As a producer, Swicord brought to the screen works that include The Perez Family, Matilda (1996), and Little Women (1995). Swicord also has a few directorial titles under her belt, including The Jane Austen Book Club (2007); Wakefield is her first directorial work since then. Her writing is solid and smart, she is able to develop a strong narrative voice, that of Howard’s, with authority and sympathy. The latter is especially important because there are many reasons to dislike and judge Howard Wakefield as he engages in a self-prescribed and surreal experience with total disregard of his family.
The themes that run through the literary and film works include the isolation of the modern human being in society, the trappings of what is “normal”, and difficulties that come with relationships that people have outgrown or simply entered into with disingenuous. In current times, Wakefield also illustrates what white privilege is all about – the ability to step out of one's own life, abdicate responsibility, and still one’s loved ones are OK, their safety, livelihoods, and overall quality of life remains intact. The epitome of this privilege for Howard comes in the form of never having lost his options; he always had the cash, the car, the keys, etc. His brief period of enlightenment is brought on by a self-fabricated brush with something that resembles a homeless state but is never real. Howard always remained in control, and was always able to decide when to go home, just a few feet, across the garage. And, if all this were not enough, the hubris that drives Howard to step out of his life, is the same hubris that drives him back into it. So much for spiritual evolution; he could have just as easily simply gone to Burning Man.
The acting is very strong, and this is what gives the film an interesting direction, even after its conclusion, something for viewers to talk and think about. Cranston embodies the character flawlessly, and the narration that is his internal thought process, is delivered as if it were a beautifully choreographed ballet. Just across Howard’s garage attic window is the Wakefield household carrying on through the abandonment process and putting itself back together. Howard watches all this in his stalker staycation, and he is creepily focused on his wife. Diana doesn’t disappoint, if anything, she is far more resilient than Howard expected, and this is both rewarding for him from afar but could likely backfire when he decides to reclaim her as his wife and property. Swicord creates a world on a foundation of strong writing, an exceptional musical score that she expertly leverages to deliver a film worthy of both Doctorow and Hawthorne. Swicord’s Wakefield is not only compelling, but uncomfortably so.
Beartooth
R for some sexual material and language
Runtime: 1:46
Mon 7/17, at 8:00 PM, and Tues 7/18 at 8:00 PM