Love and Mercy - News and Reviews - First clip is out.

[rn57]

Saw L&M last night - not at the DC theater I expected to but in one of Washington's Maryland suburbs. The theater was 85% capacity  for a 7 pm- ish showing so I figure shows at the area's hipper theaters like the Avalon and E Street Cinema were packed at that time.

Where to begin? For one thing, with one feature, effectively his first one after a long-forgotten apprentice work, Bill Pohlad establishes himself as a major American director. He definitely has made a point of learning from the masters whose movies he's produced like Malick, Altman, Tarantino and Ang Lee.

Atticus Ross's sonic tapestry is stunning.  The sound-editing crew did utterly Oscar-worthy work. The art direction merits an Oscar nomination as well.

Dano's performance is a shoo-in for a Best Actor nomination, I'd guess.  Quite apart from the visual and vocal resemblance, the way he handles himself in the scene where Murry announces he's sold the catalog, alone, is a lesson in great acting - and there are plenty of moments up there with it. (This scene, interestingly, got the biggest gasp from the audience I was with, the moment Murry said he'd sold SOT.)

Cusack's role is more difficult than Dano's but as Jon says above, his vocal inflections, facial expressions, movements, even pauses, exactly get Brian's vibe. There's an emotional depth there that is a little more understated than Dano's but just as effective - he deserves a nomination, though my worry is that if he and Dano are both nominated the votes would cancel each other out the way it happened with Berenger and Dafoe in Platoon.  After a scene or two you won't even be thinking "Gee, the hair doesn't really match."

And speaking of hair - Giametti's hairpiece may have come from the nether regions of Phil Spector's dresser but that doesn't matter.  His performance is just the right mixture of buffoonery and menace - and in his last scene in the pic, the two are perfectly combined. Elizabeth Banks is also great in a role that, however, could have used a little more development on the part of the writers.

Where the smaller roles go....the guys playing Mike and Murry are utterly authentic.  As noted before, the portrayal of Mike is nuanced, and has a degree of sympathy.

Where the movie veers from the historical record....well, changing Mike's argument with Van Dyke from the studio and Cabin Essence to a pool and H&V can be forgiven, I think. Because this movie is intense - and even reading every review, every comment, will not prepare you for how intense some of it is - and I gotta say that seeing Mike go at it in the middle of recording Cabin Essence would have blown the top right off the pressure cooker. As it was, several people were walking out of the screening sobbing uncontrollably.  I think Pohlad and the two writers made the right decision.

And, yeah, no dog poop in the sandbox that I could see. To heck with that. In all the essentials and nearly all the fine points, L&M nails it. A minus and I might move up the grade after I see it again.  

A couple more things - in the next few weeks we'll have many people joining the board. They may not know much about Brian and the band at first besides what they learn from this movie, Spotify or YT, and Wikipedia, so let's be understanding about that.  Second, right now, and every day for a long time to come, a lot of people who never thought of making music before are going to be picking up instruments or getting together to sing.  It's a movie that is a game-changer in more ways than one.

And yes, I think One Kind Of Love is a sure bet for an Oscar nom at least.

[the captain]

Sitting in the theater now. It's playing at maybe 7-10 places locally, probably a bit more than similarly sized metro areas elsewhere because it's Pohlad's hometown and has gotten that add'l angle/press. I'm early enough to have gotten a sweet seat and am just now for the first time getting excited. All the early press, the festival accounts, the recent press and interviews, it's finally (my) time. Should be fun.

[the captain]

Also, I'm (at 38) the youngest person in this theater by at least 15 years. Then again, it is a Sunday matinee.

[rn57]

At the screening I was at, audience ranged from college age to about 60, mostly in late 20s to early 40s. The youngest audience members, remarkably, seemed the most deeply affected. The kind of word of mouth this will generate may result in a much bigger second weekend than is the case with a lot of movies because people are going to be saying, "You just gotta see the movie - there's so much in there that I gotta see it again."

[the captain]

Demographic shifting as more people arriving. Still skewing older but not so much. And now, off goes the phone!

[pixletwin]

When I saw it Friday night theater was nearly sold out and the average age was around 60. I was glad I took my two boys (12 and 13 years old) or I would have felt like the youngest person there. Haha

[guitarfool2002]

I'm still buzzing from the experience of seeing it, so thoughts may be scattered.

I feel this film works in the same way as Brian's music. Musically you can hear those songs repeatedly for decades, yet they still grab you in a certain way, emotionally, that so few manage to do. Whatever each person feels, it's something unique and deep. Ask any fan what those songs are, there is no hesitation. It may be one very special tune, it may be dozens, but it's there, that connection and feeling. It often can't be defined.

This film...most of us have heard the story, heard the session tapes, know the background and details, have read the books and listened. Yet most of the reactions I'm reading so far to us fans watching it on the big screen, along with my own, are saying how much the film touched us emotionally, beyond both what was expected and what would happen with any number of films.

It's getting to people's soul, and emotions are pouring out. It can be overwhelming, I'm not lying by saying I left the theater both physically and emotionally drained and almost 24 hours later there are scenes and feelings about them buzzing around my head. The penultimate scene before the ending, the climax shown in Brian's bedroom, damn it all if I still can't stop thinking about the implications of that.

It laid bare the whole thing, practically, on many levels. If I say more it will spoil it for anyone who hasn't seen it. I've already written so much about the art and technique of how they staged that scene, I'll just repeat it's high art, it's genius filmmaking and technique.

Let me say this before I ramble even more.

How do you review something like this? I'll just suggest if you start reading a review or a reviewer talking about the film, and you get the feeling it's a formula or stock review from a critic who applies the same templates and phrases as he/she would to reviewing the newest Fast And Furious or Adam Sandler comedy, they *don't get it*.

It's like the best of Brian's music in any decade - It can be so unique, so different, so challenging yet so acceptable and full of joy, that it has to be a personal experience. That can be on a basic level of just liking the song, or internalizing the experience to the point where it becomes a part of you from that point onward. Sound a little spaced-out, a little over the top? It isn't. Think of that one song that just destroys you every time you hear it, that one special, personal song. Whoopi Goldberg this week broke down and couldn't even finish the interview after she tried to talk about "In My Room", her words got lost as she broke down, but it was something about the song that saved her. For me it's "Wouldn't It Be Nice".

This film, the artistry of it and the way it tells the story so many of us have already heard or already know, is really affecting people who see it. It's touching people in ways that normally don't happen after buying a ticket to see a film. I cried, I choked back tears for almost the whole thing, I still choke up thinking about it. That's art, that's personal experience, that's reaching and touching people from the screen to their hearts.

Just like the music continues to do.

And I think to tell this story, a film needed to be as unique, as different, and as special as the man whose life and art would be depicted on screen.

I can't help thinking this is a film whose art and creativity and emotional connection befits the man whose story is being told, and the music he's given us all these years.

[drbeachboy]

Here is a Brian interview from the Huffington Post regarding his use of LSD.


http://www.huffingtonpost.com/2015/06/05/brian-wilson-hallucinations_n_7520014.html?ncid=txtlnkusaolp00000592

[Ed Roach]

The performances and characterizations were fantastic. Paul Dano was perfect. It didn't matter that John Cusack didn't look like Brian, because he FELT like Brian. I was really impressed with his portrayal. Having been around BW many times, there is a specific vibe he gives off, and Cusack nailed it.

You know, Jon, I was able to let go of Cusack not perfectly resembling Brian real quickly - I just couldn't believe how well the Dano / Cusack dynamic worked!  Brilliant concept that allowed the film to so easily flow through time periods.  Also, when we finally get to see & hear "Love & Mercy", it immediately drives home that there will always be only one, true Brian Wilson... 

[Shady]

Don't know much about box office numbers but over 2 million from just 400 screens is pretty good, right?

Happy for all involved in this movie. Now for the Oscar snubs .

[the captain]

Really enjoyed it, actually probably more than I thought I would. Very, very well done. It's great to be able to say not just that there's a movie about my favorite pop musician, but there's a really good movie about him.

[rn57]

My advice? If there is any way you can see this on the big screen, with that big sound, do so. You won't be disappointed. And stay through the credits. I'm seeing it again tomorrow.

I second that. The sound in the theater was extraordinary. Not just the musical parts, but at least two other scenes you should hear for yourself.

Here's another rave review, which also goes into the awards and economic prospects of the movie, since it's a business magazine:

http://www.forbes.com/sites/markhughes/2015/06/05/review-love-and-mercy-is-an-oscar-caliber-beach-boys-biopic/

Just read this....the assessment of L&M's box office prospects hits the mark, I think. L&M's two-day gross was just announced as $2.2 million on 450 screens. That's about $4900 a screen. Extremely good in a country where more people know the baseball pitcher Brian Wilson than the musical BW....though that situation just might shift a bit as L&M goes into the second weekend.

The review of the movie also makes the essential points.  As stunning as Paul Dano's performance is, moment after moment, I imagine a lot of actors out there are going to be even more interested by how John Cusack works. The reviewer's statement that this is the best Cusack performance since High Fidelity eons ago could well be true.

[rab2591]

Also, I'm pretty sure we got some serious up-close in-depth looks at the real tape archives of the Smile multis at one point (these had to be the real tapes in my opinion).

So I remembered this comment today when I saw this again, and I took a closer look at the tape boxes. There is a tape box labelled "Mrs. O Leary's Cow" in that mix - I could be mistaken, but I don't think it was labelled that on the actual '66 tape box. Someone who knows more could probably set the record straight on that.

[GhostyTMRS]

Alright....When's the DVD coming out? Deleted scenes anyone?

Jumping the gun, I know. 

[guitarfool2002]

Also, I'm pretty sure we got some serious up-close in-depth looks at the real tape archives of the Smile multis at one point (these had to be the real tapes in my opinion).

So I remembered this comment today when I saw this again, and I took a closer look at the tape boxes. There is a tape box labelled "Mrs. O Leary's Cow" in that mix - I could be mistaken, but I don't think it was labelled that on the actual '66 tape box. Someone who knows more could probably set the record straight on that.

If I remember the tape boxes shown in the film looked relatively "new", and the scotch tape on them still looked clear for the most part. I believe they are mock-ups from the prop department to look like the originals. One thing to consider:

The age of those tape boxes as shown in the film's timeline would have been under 2 years in storage. If they had them to use as props in 2014, consider the effect 45 years has on scotch tape, paper, etc. Things break down, transparent tape tends to yellow, ink fades...the scotch tape would be more yellowed and dried out than what I think was shown in the film.

To compare, just look at the actual tape boxes Mark Linett worked with that can be seen surrounding the Smile box set materials. Maybe I'm not remembering the film exactly as it was, but those actual tape boxes showed their age at over 45 years more than the ones in the film.

[rn57]

Alright....When's the DVD coming out? Deleted scenes anyone?

Jumping the gun, I know. 

There are some scenes in the film where I thought: "Well, in the early cuts, this must have been a minute or two longer," and other places where the way a scene was handled suggested that a scene left on the cutting room floor preceded or followed it, but I'd have to see L&M again to cite specific examples.

[rab2591]

Also, I'm pretty sure we got some serious up-close in-depth looks at the real tape archives of the Smile multis at one point (these had to be the real tapes in my opinion).

So I remembered this comment today when I saw this again, and I took a closer look at the tape boxes. There is a tape box labelled "Mrs. O Leary's Cow" in that mix - I could be mistaken, but I don't think it was labelled that on the actual '66 tape box. Someone who knows more could probably set the record straight on that.

If I remember the tape boxes shown in the film looked relatively "new", and the scotch tape on them still looked clear for the most part. I believe they are mock-ups from the prop department to look like the originals. One thing to consider:

The age of those tape boxes as shown in the film's timeline would have been under 2 years in storage. If they had them to use as props in 2014, consider the effect 45 years has on scotch tape, paper, etc. Things break down, transparent tape tends to yellow, ink fades...the scotch tape would be more yellowed and dried out than what I think was shown in the film.

To compare, just look at the actual tape boxes Mark Linett worked with that can be seen surrounding the Smile box set materials. Maybe I'm not remembering the film exactly as it was, but those actual tape boxes showed their age at over 45 years more than the ones in the film.

Good points. I just checked the Smile boxset book and sure enough the labels are very yellow, the tape boxes are significantly worn. Also, 'Fire' is definitely labelled 'Elements: Fire'. So these were new tape boxes made for the film.

[sea of tunes]

Don't know much about box office numbers but over 2 million from just 400 screens is pretty good, right?

$4,600 per screen average.  By comparison, the next 5-6 films ahead of it in the weekend totals had significantly less than that as a per screen average and were also playing in quite a few more screens.  It did really well.  It will go wider next weekend too so it should do really well during its theatrical run.

[Amy B.]

Did anyone hear about this? I heard Brian say that watching the movie was scary at times, but not this.

http://www.imdb.com/title/tt0903657/trivia?ref_=tt_trv_trv

"The real Wilson reported having a mild dissociative experience while watching the film. He started to believe that Paul Giamatti was the actual Eugene Landy and felt "absolutely in fear" for several minutes."

[GoodVibrations33]

Did anyone hear about this? I heard Brian say that watching the movie was scary at times, but not this.

http://www.imdb.com/title/tt0903657/trivia?ref_=tt_trv_trv

"The real Wilson reported having a mild dissociative experience while watching the film. He started to believe that Paul Giamatti was the actual Eugene Landy and felt "absolutely in fear" for several minutes."

I think there's an interview (with BW, Cusack, and Pohlad) from a few months ago around the time of one of the advance screenings where Brian said something along the lines of he thought Giamatti was Landy for about 10 minutes or so.  It might of been SXSW.

Edit:  Touches on it around 2:15 in this video - https://www.youtube.com/watch?v=nX0aW7ab0LM

[Komera]

Did anyone hear about this? I heard Brian say that watching the movie was scary at times, but not this.

http://www.imdb.com/title/tt0903657/trivia?ref_=tt_trv_trv

"The real Wilson reported having a mild dissociative experience while watching the film. He started to believe that Paul Giamatti was the actual Eugene Landy and felt "absolutely in fear" for several minutes."

I think there's an interview (with BW, Cusack, and Pohlad) from a few months ago around the time of one of the advance screenings where Brian said something along the lines of he thought Giamatti was Landy for about 10 minutes or so.  It might of been SXSW.

Edit:  Touches on it around 2:15 in this video - https://www.youtube.com/watch?v=nX0aW7ab0LM

Gone half way through a rather impressive number of bookmarks and haven't found it yet.  But it's from an interview with Pohlad and was about the TIFF premier.  That should help narrow it down.

[Ed Roach]

"The real Wilson reported having a mild dissociative experience while watching the film. He started to believe that Paul Giamatti was the actual Eugene Landy and felt "absolutely in fear" for several minutes."

Just saw the film again, with Brian, Melinda, Bill Pohland & producer Claire Rudnick Polstein and he said pretty much the same thing about Giamatti / Landy

Btw, check is out, from http://www.hollywood-elsewhere.com/


Industry Guy Who Attended Yesterday Afternoon’s Academy Screening of Love & Mercy
 

“The Academy [theatre] was fucking packed to the gills on a beautiful Saturday afternoon — PACKED. Not one seat available. And I only saw two or three people leave before the question and answer. They all stood for Brian Wilson when he came on stage. Very emotional.

“It’s so unlike every other musical biopic ever made. There’s hardly a trope in it. Which may hurt it at the box-office in the end. No big set pieces, no moment where we discover ‘the singer can sing’, no final musical triumph. It’s so much deeper than that. I’m a member of SAG, the DGA, the WGA and the Academy, and I imagine it will get my support in every organization.

“Paul Dano‘s performance is glorious, almost soul bending — it’s like nothing I’ve ever seen. John Cusack is not getting nearly enough love. Banks shows us moves that we’ve never seen before. I’m not quite sure why she loves or, rather, falls in love with Brian- but I just sort of flowed into it with her.”


   

[Komera]

MSNBC finally got around to it.

http://www.msnbc.com/weekends-alex-witt/watch/new-film-released-about-beach-boys-cofounder-459288643795?cid=sm_tw_msnbc

[sea of tunes]

After the Cavs win tonight, I decided to go out and see it again for a 3rd time.  Saw the last showing of the night at the AMC close to me.  Just me and another couple in the theater for this showing.

Decided this time I would record the audio from the film because I wanted to pick up on the music stems used in the soundtrack and also to flip back through the screenplay and cross reference dialogue.  So, I used my iPhone to record a 2 hour and 1 minute voice memo of the film.    I'm a nerd. 

It was of course just as moving the 3rd time around but you begin to notice different things as you see it more (all good) and it makes me just want to see it again, which I likely will.

I do truly hope that the soundtrack is released very soon, as Bill Pohlad had mentioned it would be shortly following the release of the film (Consequence of Sound interview).  Also, really hoping that the blu-ray/dvd release this fall will contain some scenes that Pohlad excised from the finished film and some commentary about why, maybe.  Of course, just wishin' & hopin'.

[LostArt]

I ran across this brief interview with Oren Moverman.  He touches on a few points that some may not be aware of including early drafts, liberties taken and why, and what was left on the cutting room floor.

http://collider.com/love-and-mercy-oren-moverman-on-making-a-cinematic-brian-williams-biopic/