Wildlife (2018) | Critics’ Week | Cannes Film Festival 2018
Writer|Dir: Paul Dano | Cast: Carey Mulligan, Jake Gyllenhaal, Ed Oxenbould | Drama | US | 105’
A teenage boy experiences the breakdown of his parents’ marriage in Paul Dano’s crisp coming of age family drama, set in 1960s Montana, and based on Richard Ford’s novel.
Although once or twice veering into melodrama, actor Dano maintains impressive control over his sleek and very lucid first film which is anchored by three masterful performances, and sees a young family disintegrate after the husband loses his job.
WILDLIFE has a great deal in common with Retribution Road (2008), its similar theme of aspirational hope for a couple starting out on their life in a new town, in this case Great Falls, Montana. But here the perspective is very different – in Wildlife, the entire experience is seen from the unique perspective of a pubescent boy, Joe, played thoughtfully by young Australian actor Ed Oxenbould (The Visit).
There’s an old-fashioned quality to the film that very much works to its advantage. The date is 1960 and in the mountains behind the family house a forest fire is raging, with warnings that it could well spread to the town centre if not controlled by rangers, who Jerry Brinson (Gyllenhaal) decides to join at a wage of only a dollar an hour, after much moping around the house when he loses his job on the local golf course. This comes as a big surprise to his wife Jeannette (Mulligan), an earnest homemaker who believes in her husband’s desire to make more of himself, and she sees this as a step backwards, career-wise. Meanwhile, Joe signs on as an apprentice to a local portrait photographer, a part-time job he takes to while doing very well in his school work.
Dano and his co-writer Zoe Kazan, stick to a clean, straighforward narrative but there’s a subtle brooding tension at play, and while Joe seems emotionally grounded and resilient (a tribute to his parents), Jerry and Jeannette are less so: although Jerry’s character is the most underwritten of the three, there’s a haunted quality to him as a straightforwaed dad who suddenly implodes after the shock of his firing. Jeannette also starts to lose her own sense of equilibrium:. “What kind of man leaves his wife and child in such a lonely place?,” Jeanette casts around for emotional ballast in an much older wealthy man, Warren Miller (Bill Camp), who she meets while giving swimming classes.
In some ways this fragmented behaviour is character-forming for Joe, his parents have clearly given him a rock solid babyhood, and so he can weather the shocking fliration scenes that take place between Millar and his mother, and his loss at his father’s temporary abandonment, although he finds it all difficult to fathom. This is not a film about adult infidelity and abandonment, but about how a teenage perceives and deals with it, and as such it is beautifully restrained and supremely elegant – the audience is required to suspend disbelief and take a trip back to teenagehood and the bewildering experience it offers. Dano makes the denouement an enigmatic affair, leaving the door open to hope, while acknowledging the inevitable. MT
CANNES FILM FESTIVAL 8-19 MAY 2018 | CRITICS’ WEEK |