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

[puni puni]

The comparison is that both scenes served the same purpose in establishing a 'peace-keeping' character, except I think L&M was going for something beyond that which is later echoed in the repeated line 'family first, Brian'.

[guitarfool2002]

A really powerhouse visual comes in near the end of the film, look close at the montage scene I've called one of the best examples of pure filmmaking, editing, and sound design as art as I've seen in recent films. Some call it the 2001 scene, it's the final major montage.

What floored me about that was again seen more clearly on repeat viewings. It's not a hidden thing, it's not something that someone seeing it for the first time might not get either, but it's one of those connecting threads that takes it back to the opening scenes of the film.

Those scenes of Brian as a kid laying in bed amidst all of the chaos. It brought home the fact that this was something he'd been dealing with all along, and escaping from as well. As if "In My Room" wasn't enough of a glimpse into the whole thing, put out as a hit single for millions to hear, we got to see it in stages throughout the movie as a visual. That final montage scene brings it all home, none of what had been going on was new, it was just a different set of surroundings and different individuals.

Then the current Brian wakes up, and it's that moment of leaving the escape mechanism via that bed behind and getting out into the world. It ties in so well, scenes like that make me want to see the film yet again. But to see the then-present day Brian wake up from all of that after the decades of visuals and sounds replay in his mind with the escape to that bed being the constant, it is a scene of triumph.

That's filmmaking and storytelling through film and sound as high art, when it hits on all cylinders. I could watch scenes like that montage all day, just like listening to a great recording over and over.

[puni puni]

Almost like he'll be those things 'til he dies...

[rab2591]

So according to this logic, Dennis missing from the railing during the bed montage scene was probably just Kenny Wormald missing from the set, getting a coke or something, and Bill Pohlad saying "f*** it....action!"

I was talking about the scene where Dano is in the pool. Obviously the railing disappearance was intentional. There are no doubt moments in the film with genuine undertones or foreshadowing, but they aren't so ridiculously abstruse as 'Brian sitting down => Brian laying in bed'. The color blue as a visual motif, Murry telling Brian 'Nobody is going to remember the Beach Boys in five years', and such are all obvious and unmistakable.

"Ridiculously abstruse"?

These aren't 5 second placement ideas that Pohlad or Yeoman created on the spot. Judging by the impressive detail and the foreshadowing placed throughout the rest of the film, it's not difficult to surmise that such imagery is the case. As Guitarfool points out, every scene regarding that pool area has whole other level to it. Again, I'm not saying I'm totally correct about this particular scene, but calling such speculation ridiculously abstruse is ridiculous itself, considering all of the hidden imagery packed elsewhere in this film. And the film calling Van a lyricist at 14 doesn't delegitimize such ideas.

[rab2591]

By the way, for those who remember...

The knives and forks scene, all the members of Brian's Smile posse are sitting around the table. But I noticed in the background, outside around the pool, there's a group of people sitting out there. Any idea who those people could be?

[chaki]

Okay, I think everybody is missing the point I was making about when Carl says, "We've got to stick together, brothers" (or whatever the line is)....Close your eyes, and tell me it was not >>THE REAL CARL<< speaking that line. It's...heavy.

whoa.....

[sea of tunes]

Something else that's pretty subtle is during the opening highlights montage. There's a quick 4-5 second scene of the band seated at a table with Mike introducing them all: "Yea, we've all grown up in Hawthorne California. Brothers here: (pointing) Dennis, Brian and Carl all grew up in the same house.." and as Mike says "Carl" Carl sits forward to introduce himself "Carl".

Obviously, this is a way to fix in your mind that his (and Dennis') characters will factor into the story and we should make note of them. I know it's just a story telling device but it's clever in the way it was executed. I thought.

[sea of tunes]

I meant to post this before. American Cinematographer (July 2015) "Harmony & Discord".

https://drive.google.com/file/d/0B-_uEeuPcTRdTHRJWEUzaEVadjQ/view?pli=1

[Debbie KL]

I meant to post this before. American Cinematographer (July 2015) "Harmony & Discord".

https://drive.google.com/file/d/0B-_uEeuPcTRdTHRJWEUzaEVadjQ/view?pli=1

Great stuff, JCM.

[puni puni]

Again, I'm not saying I'm totally correct about this particular scene, but calling such speculation ridiculously abstruse is ridiculous itself

Sorry but 'Brian sitting down => Brian laying in bed' and 'Carl holding a beer => Carl is an alcoholic' is grasping for straws. Melinda's wearing a blue dress at the beginning of the movie to carry a water motif -- there is a lot 'white' in the '80s scenes to emphasize the 'clinical-ness' of the era -- stuff like that I'm willing to swallow. Also confirmed by Pohlad himself, which helps. I also feel there was legitimate 2001 foreshadowing in the 'cancelled session' scene.

[sea of tunes]

there is a lot 'white' in the '80s scenes to emphasize the 'clinical-ness' of the era -- stuff like that I'm willing to swallow. Also confirmed by Pohlad himself, which helps.

Yes and the set designer said during an interview he was aiming for a 'cooler' pallet in the 1980s scenes. And 'warmer' in the 1960s scenes. To try and draw contrasts between how Los Angeles looked in the different eras.

[Paul J B]

I know I saw mention of this in one of these threads but seriously... How does this Straight Outta Compton movie take in $60 million? I should not care and really don't a whole lot but I had never heard of that film until last week yet its obvious a whole lot of people did and packed into theaters to see it. Yet the 2 times I saw L&M in the theater there were a dozen people or less. Just kinda bites...you know.

[puni puni]

I hadn't heard of it either but I would gauge that perhaps there are many more young fans of '90s hip-hop than there are of Brian Wilson or John Cusack -- coupled with more people who'd watch a crime popcorn flick over an esoteric biography.

[ontor pertawst]

Well, also they had Universal muscle distributing/promoting it hard, meme-tastic working of social media, way more advertising, that other Andre that isn't me workin' itunes/apps/etc. An inspired by soundtrack, a full court assault of press and whatnot. Throw in a little onset drama what with the whole "guy dying" thing and how can you miss? I wouldn't be jealous about it or anything, altho think of the Straight Outta Hawthorne possibilities we missed out on! Sniff!

[chaki]

I know I saw mention of this in one of these threads but seriously... How does this Straight Outta Compton movie take in $60 million? I should not care and really don't a whole lot but I had never heard of that film until last week yet its obvious a whole lot of people did and packed into theaters to see it. Yet the 2 times I saw L&M in the theater there were a dozen people or less. Just kinda bites...you know.

one is a huge budget major motion picture with tons of press and the other is a small indie film. duh.

[chaki]

i do think it's hilarious that giamatti plays the "bad" in both films though lol.

[sea of tunes]

The immediate answer is that "Straight Outta Compton" opened in nearly 2,800 theaters. By comparison, "Love & Mercy" opened in less than 500 theaters and at the most, a few weeks later, peaked at just under 800 theaters. The footprint of SOC out of the gate was much larger, obviously, so that's the main reason.

There are probably more nuanced reasons for the box office prowess of SOC. It is something of a topical film, even if the subject matter is fairly specific. Also, frankly, the general audience for L&M is dwindling. Half of L&M is focused on events that happened nearly 50 years ago. That likely feels like ancient history to 18-24 year old moviegoers.

Another possible reason for the gigantic difference in box office numbers quite possibly are because of the very different type of films they are. SOC is a much more straight forward studio biopic. L&M is an intimate indie film.

What do you think a more mainstream film about The Beach Boys, not just Brian, would have done numbers wise? To me, part of the charm of L&M is that isn't a paint-by-numbers biopic Luke "Walk the Line" or "Ray". Frankly, had L&M been more standard fare I'm not sure it would have had the same impact on me personally.

[Paul J B]

It's not a jealousy thing, just a disappointment. 90's hip hop was a long time ago too. I understand what sells has little to do with what is great art but I just wish a lot more people had flocked in to see L&M. Critics like the hip hop movie and it might be good but I can't relate to that "music" so I'll pass. Even if L&M is not perfect, it's certainly among the best biopics EVER made. I also thought L&M was promoted pretty well but the June release was a mistake and I said it at the time. If a movie about '90's hip hop can rake in that kind of money late summer it kind of proves the point IMO.

[Paul J B]

Also the number of theaters ties into industry projections and expectations. How many of those theaters had 4 or 6 people during a 7 pm showing opening week? I bet not any. L&M had 10 people including my wife and I three days after it opened in the Milwaukee area and the same number my second viewing on $5 Tuesday when the rest of the complex was packed.

I'm full aware it was an indie type film but the public interest level of expectations was low from the get go and that is the key issue I am commenting on. You would think a film about 90's hip hop would have been the harder sell.

[Wirestone]

You would think a film about 90's hip hop would have been the harder sell.

A harder sell than a film about a middle-aged songwriter's personal demons? Um ... nope.

For what it's worth, L&M performed exceptionally well for an art house film, making the top 10 grossers one of its weeks and earning a very high per screen average. It made back its production costs, and earned a profit besides, so it was any measure a success.

[Fire Wind]

Loads more young cinema-goers would know about NWA, plus Dre is still sort of currently well-known, with the Eminem connection and he makes 'Beats' headphones etc.  I still enjoy the album of the title.

[Paul J B]

You would think a film about 90's hip hop would have been the harder sell.

A harder sell than a film about a middle-aged songwriter's personal demons? Um ... nope.

A songwriter many consider to be a musical genius that was the main talent behind one of the most successful bands of all time. Yeah, I guess not. Individuals that sing about violence and vulgarity and also glamorize it...that's what the kids want isn't it?

Love and Mercy indeed.

[ontor pertawst]

I just hope Paul Giamatti also gets to play in band biopics of the Velvet Underground and Parliament/Funkadelic. Steve Sesnick and Neil Bogart, say. Done!

[Sangheon]

Anyone noticed a cappella version of Good viberations?
How that was made? I think it's impossible to make it, because the vocal multitrack tapes were destroyed.

[Dudd]

We do have in the archives partial vocals for "Good Vibrations," from a copy of an original 4 track master.  This 4 track (which now exists only in a vintage 8 track copy) only had some of the vocal parts, none of them doubled, and was apparently copied to a separate, now missing 8 track onto which Brian would have then added all of the rest of the vocal parts and layers heard in the final mix.