This visually stunning masterpiece from 2016 tells the story of writer Edward and his ex-wife Susan. Long after their breakup, when she’s already remarried, he sends her his latest manuscript. She gets overwhelmed by the story, which is not surprising, since the book is hauntingly gruesome. And so, we see two main story lines unfold – Susan’s life and the plot of the book. Interestingly enough, we never see “present day”-Edward, we only see him in flashbacks and as his character, Tony.
I usually don’t focus on the participants or makers of any given movie because I prefer to only consider the plot and treat every film as art separate from reality but damn. I went to see this movie just because Tom Ford made it (Jake Gyllenhall & Amy Adams are dope as well) and he certainly left his mark on this one.
The whole thing starts off with a sort of grotesque art exhibition (which we only learn a few minutes later) consisting of overweight women flapping their bare, excessive skin on screen. In their knee-high, white hooker shoes they seem to be dancing to a different song than the audience hears but it’s quite an interesting look. What was most striking to me was the honesty of the visual.
Geez, that sounded pretentious. What I meant was that the women weren’t edited. They just flapped their flaps as they were and as a plus-size person myself it felt pretty neat. Because those women weren’t at all terrible to look at (even though maybe they were supposed to be? I don’t know, they seemed human to me and it was okay that they were naked and that we looked at them, if that makes sense).
Tom Ford shows physicality in general in a very peculiar way. In any scene with naked bodies in this movie they seem unedited and in the case of Susan and her daughter India, their bodies are just terrific. Which is weird because we see them naked only when they’re dead (and previously raped – why is there always rape? And why do they always have to show it?). But I’m just gonna gloss over the contrast of beauty vs death/violence.
The bodies are nothing compared to the landscape images though. The Revenant was praised for stunning pictures. Well, in my opinion The Revenant can eat Nocturnal Animals’ heart out in that regard. And any other, too, while we’re at it. But I hated The Revenant in its entirety, so maybe that opinion of mine is a bit too biased. What I’m trying to say is that it’s worth seeing Nocturnal Animals for the incredible landscape shots alone. Especially the clouds. I love clouds.
The shots in general were quite unique. Wide shots, with little movement, or movement of the actors that wasn’t front and center. Or really tight close-ups, which reminded me of the 40’s for some reason. Then, suddenly quick shots, matched to the speed of a beating heart.
Tom Ford is a genius. I can’t stress this enough.
Oh well, there was one unnecessary, unexplained jump scare that I would’ve just edited out but whatever.
Another thing I really liked about the design of the film was how the jumps in time were introduced – because they weren’t. The images just naturally shaped into either present day, book time or flashback. There was no need for superimposed text that would inform us that we went back in time. The actors just looked younger and it was obvious from their first words that we were shown their past selves. It was logical. I think that shows how good of a director/screenwriter Tom Ford is.
What also shows his screenwriting genius (this word again, heh) is the dialogue. I thought they were a bit on the nose sometimes but in general I thought they sounded natural. And they expressed a lot of feelings that I also have as an aspiring artist, so the script spoke to me on a personal level. I like that in movies. For me it makes it not only easier but also more pleasurable to identify with the movie or characters.
One major thing I didn’t enjoy though (but this might be a thing I don’t enjoy in general in movies, I’m still on the fence about his) was the open ending. Susan and Edward were supposed to meet, Susan came in a gorgeous dress and Edward didn’t show. Even though he insisted on the meeting! Was this just some weak revenge? Or did he show up in the end? Or did he kill himself? Or what’s going on there??? Maybe I’m not smart enough for these sorts of endings. I think I prefer it when the storyteller finishes their tale.
I also didn’t like the nonsense cameos by Micheal Sheen (I got excited when I saw him on the screen but then he barely said a word) and Susan’s friend who helped her in the beginning but then vanished completely for some unexplained reason. They perhaps could’ve been edited out.
Another thing was the highway scene. To me it was cringey and weird. I think it was supposed to be – but the villain’s motives weren’t explained at all and I really don’t like that. So far I think only the Joker can do things “for the heck of it” and it’s convincing. But some random jerks? I don’t know. Then again, it was the story Edward created. Maybe he’s not such a strong writer after all (but what do I know).
But all is forgiven thanks to one scene in the movie. The scene of all scenes. The One.
Yes, I’ve saved the best for last – the date scene. The restaurant scene. The oh-my-god-I-wanna-rip-my-clothes-off-for-Jake-Gyllenhaal-scene.Basically, young Susan and Edward are on a spontaneous date. Edward is clean-shaven, sharply dressed and Susan looks dreamy in her side-swept hair and undeniably perfect face. We mainly see their faces (due to those 40’s-esque close-ups I mentioned) but that’s not the point of this scene. The point of and best thing about it in my view is Jake Gyllenhaal’s acting. He dominated that scene. And man, was he charming. I mean, literally, charming, fall-on-your-knees-in-love-charming. I couldn’t believe my eyes. I mean I know he’s gorgeous and a great actor but I didn’t know he could pull something like this off. I’ve liked him for a few years now, so again, my opinion might be a little bit skewed. But I think even if somebody didn’t like him they would be just as floored as me by his performance. He’s sweet-talking and looking at Amy but I felt like he was staring right into my soul. It was the epitome of what mainstream pop culture presents as romantic.
And boy was he charming. I think I might watch this movie again just for that scene. I will endure the hillbilly characters and violence and the superfluous jump scare just to be swept away by Edward’s/Jake’s magic in this scene again.
Alright. I think I’ve praised this movie enough. Even though I was very aware that I was watching it (which is usually a bad thing because in my mind a movie is better for it when you’re completely immersed), and to me it was equal parts art piece and story (rather than a film), I wholeheartedly recommend seeing this. It’s beautiful, it’s tragic, charming and a perfect example of brilliant design – yes, design.
Outside Max 