Mason Evans Jr. (Ellar Coltrane) is a six year-old boy who lives with his older sister, Samantha (Lorelei Linklater) and his single mother, Olivia (Patricia Arquette). Olivia isn't earning enough to keep the family afloat, so she wants the family to move so that she can study at the University of Houston and earn a higher living. Mason is concerned that their dad, Mason Sr. (Ethan Hawke) won't be able to find them in their new location. What follows is an epic 12 year tale that documents the difficulty and the beauty of growing up.
Linklater took a creative risk with this film, shooting the cast over a 12 year period, but boy, did it ever pay off. The progression between the years is marked by subtle physical changes in the characters, the evolving landscape of their lives and recognisable elements of each year implanted into the story. The plot feels very free-form, which is what makes it so authentic. It's as if Linklater just set the characters free to live their lives whilst he sat watching with a pen and paper...only not in a creepy way. One of the things that makes it such a relatable film for me, is that I was actually 6 in 2002. I recognised points throughout that felt very familiar, that really put me in the shoes of Mason, and that was a truely amazing experience. Watching this film was like a trip down sentimental lane for me.
Every member of the cast is fantastic. Ellar Coltrane as Mason really grows on you. You don't feel as if he's an actor on the screen but rather a kid who's just trying to figure things out, following his heart and trying to craft his own life philosophies. I feel like there's probably a bit of Linklater in him. Lorelei Linklater is also great as Samantha, and Patricia Arquette is painfully moving as Olivia, as she struggles to keep up whilst her life keeps taking nose-dives. Though Ethan Hawke as Mason Sr. was in many ways the heart of the film for me, managing to be hugely charismatic and compassionate despite his failings.
Boyhood has been beautifully shot in 35mm by Lee Daniel and Shane F. Kelly, bringing both the unique visual look of film back to the cinema and allowing all the years worth of footage to line up in perfect continuity. In many ways, it's like a moving family picture album, providing a window into the lives of these people.
This film isn't just an experiment. It isn't just a milestone in cinema history. It's one of the most beautiful, touching stories that you will ever experience hands-down, keeping you engaged from beginning to end. You simply have to see this film. If this doesn't get nominated for Best Picture, I will riot. Can an individual technically riot?
No comments:
Post a Comment