If one watches the trailer then a lot of Being Flynn is revealed. This is not an uncommon phenomenon in this era of film, but it was enough to convince me to watch this film, and it also illustrates the major hurdle the film has. The film deals with what occurs when Nick (Paul Dano), a youth seeking direction in his life, starts to work in a homeless shelter and sees his estranged father (Robert De Niro) there.
It’s a plot in the trailer that makes it seem like a very unlikely chance encounter. In actuality, the leap of faith needed to believe this scenario is not nearly as large. There are furtive awkward reunion attempts prior to fate intervening as it does. This is a very good thing indeed and it allows all the baggage the two characters have to be dealt with when tension is at a boiling point.
The film does use a good deal of voice over narration and what’s more it has two narrators, father and son. Voice over is always a treacherous balancing act but this film does rather well with it and gives additional insight into these two not completely dissimilar characters. Voice over can be looked at as a story-telling bridge, bridging the gap that a visual cannot for editorial or aesthetic reasons. The key is to build footbridges not suspension bridges, to build them intermittently and this film does that.
That does not mean this film is devoid of visual signature and style quite the opposite there is quite a bit of visual interest, which is mainly added through the edit. The film has quite a few flashback sequences that mainly serve to illustrate Nick’s upbringing and the impact his father’s absence had. The film enters these passages creatively and more often than expected but always with great results and it really resonates.
These flashes aside from giving us very good fragmentary performances from Julianne Moore, shades of her turn in The Hours, and Liam Broggy as Young Nick, also help establish the tonality of the film. The sequences aren’t juxtaposed as much as they are forerunners to the twists and turns of fate in the present day. There’s a bittersweet quality as it shows what was, with hints of what could’ve been and eventually there are echoes of the past in the present that seem equally unavoidable.
Yet as dour as the film is at times there is a certain balance of emotions at play. There is some humor to it when appropriate and certainly tenable drama not just voyeurism, you feel this movie not only watch it.
This is the kind of film that for all its other merits hinges on its performers and with these two the film excels. This is the kind of challenging emotional and engaging work that Paul Dano does frequently and that Robert De Niro doesn’t do nearly enough of anymore. They work brilliantly together and regardless of the frequency with which either does this kind of film it’s great that they do it here.
Since the Weitz brothers have stopped working exclusively in tandem they’ve done some rather interesting work, and this film is no exception. While this film takes its unexpected turns and ends well but a bit loosely but is very good and worth seeking out.