Nocturnal Animals - Review
Director: Tom Ford
Cast: Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Armie Hammer
Fashion designer turned filmmaker Tom Ford made his directorial debut back in 2009 with A Single Man. Given Ford's occupation, people were dubious, expecting the film to be a prime case of style over substance. Critics and audiences alike were pleasantly surprised and the film garnered acclaim and nominations from major awards ceremonies. Seven years after his roaringly successful foray into the world of film, Ford returns with the self-penned stylish thriller Nocturnal Animals. Will this second directorial outing establish Ford as one of Hollywood's most exciting directors, or was A Single Man a case of beginner's luck?
Successful but troubled art-gallery owner Susan (Amy Adams) feels disenchanted with her life and is marred by her second husband's constant travelling for business. One day she receives a manuscript from her first husband Edward (Jake Gyllenhaal), whom she has been estranged from for years. The manuscript tells the story of a teacher, Tony, whose supposed idyllic trip with his family evolves into a nightmare of devastating proportions. As Susan reads the unfolding story, she is left reeling as it forces her to reflect on her past, the decisions she's made and confront some unsavoury truths.
Being the prolific and celebrated designer he is, it's no surprise that Ford's Nocturnal Animals is sensually captured, with each frame looking like it could be seen hanging in Susan's art-gallery. The luscious visuals and presentation of Susan as a vision of beauty prove entirely contradictory to the larger themes and narrative at play. Although Susan's make-up is meticulously applied, her attire never anything short of glamorous and her home desirably slick and fashionably minimalist, it's all a veneer for Susan's deeply unhappy emotional state. Her outwardly model life is riddled with imperfections, largely by her own design of regretful choices; she has a handsome husband who philanders and a high flying career she detests because she denied her own creative ability and instincts. The exterior of Susan's life may be beautiful, but the actual reality of it is definitely more beastly.
These layers of complexity continue to pervade Nocturnal Animals, particularly through Adams' character Susan. By her own admission, she left her first husband, Edward, in a "cruel way". As we flashback and see the demise of her relationship with Edward, we agonise with her decisions and reluctance to attempt to salvage the marriage, and she is often an unlikable and unsympathetic protagonist. However, we still empathise with her as she ultimately develops into someone she actively tough hard against becoming. Due to her characteristics, the voice and pristine way the film is shot, Nocturnal Animals could be accused of being cold and soulless - but it evokes, it exhilarates, it thrills. And it does all of those things masterfully.
Ford's fashion designing background bleeds over into his filmmaking, particularly the screenplay, as he threads together the two separate narratives like a seamless stitching of a well-tailored suit. Susan describes Edward's manuscript as "violent" and "sad", and those two simply adjectives perfectly describe the tone of the film, and some of the images will stay with you long after the credits roll. Severe tension and suspense are also weaved successfully into the film's fabric, as the prolonged sequence where Tony and his family are driven off the road and the confrontation (both verbal and physical) that ensues is pulsating. Once it's over, you can take a much needed breath.
Collectively, as an ensemble cast, the acting is fantastic. Individually, most performers deliver some of their best work to date. Adams deftly portrays Susan's present hollowness and also her youthful defiance and naivety, providing her second stellar performance of the year after Arrival. Although there's no physical transformation involved like his recent roles in Nightcrawler and Southpaw (unless you count a rather full beard as a transformation), Gyllenhaal's dual role as Edward and his fictional creation Tony is no less demanding, and the underrated actor is deserving of some long overdue awards love. Michael Shannon as the committed and sympathetic police chief who treats the law with little regard gives a reliably powerful performance; but Aaron Taylor-Johnson arguably steals the show as brutal redneck Ray, portraying the character with such despicable menace and psychopathy. He's certainly come a long way since his role as rocker Robbie in Angus, Thongs and Perfect Snogging. Ford's attention to detail permeates every aspect of the film, as he casts named actors such as Andrea Riseborough, Laura Linney and Jena Malone in one-scene roles that would often be reserved for unknown talent.
Firstly with A Single Man and now with Nocturnal Animals, Ford has settled into a very niche style of story; highlighting the lives of the elite and glamorous, only to smash the rose-tinted glasses and expose the true sadness and ugliness that lies beneath. Whilst the film itself is unsettling, it certainly settles something - Ford's early success in film was definitely not beginner's luck.
EB
Cast: Amy Adams, Jake Gyllenhaal, Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Armie Hammer
Successful but troubled art-gallery owner Susan (Amy Adams) feels disenchanted with her life and is marred by her second husband's constant travelling for business. One day she receives a manuscript from her first husband Edward (Jake Gyllenhaal), whom she has been estranged from for years. The manuscript tells the story of a teacher, Tony, whose supposed idyllic trip with his family evolves into a nightmare of devastating proportions. As Susan reads the unfolding story, she is left reeling as it forces her to reflect on her past, the decisions she's made and confront some unsavoury truths.
Being the prolific and celebrated designer he is, it's no surprise that Ford's Nocturnal Animals is sensually captured, with each frame looking like it could be seen hanging in Susan's art-gallery. The luscious visuals and presentation of Susan as a vision of beauty prove entirely contradictory to the larger themes and narrative at play. Although Susan's make-up is meticulously applied, her attire never anything short of glamorous and her home desirably slick and fashionably minimalist, it's all a veneer for Susan's deeply unhappy emotional state. Her outwardly model life is riddled with imperfections, largely by her own design of regretful choices; she has a handsome husband who philanders and a high flying career she detests because she denied her own creative ability and instincts. The exterior of Susan's life may be beautiful, but the actual reality of it is definitely more beastly.
These layers of complexity continue to pervade Nocturnal Animals, particularly through Adams' character Susan. By her own admission, she left her first husband, Edward, in a "cruel way". As we flashback and see the demise of her relationship with Edward, we agonise with her decisions and reluctance to attempt to salvage the marriage, and she is often an unlikable and unsympathetic protagonist. However, we still empathise with her as she ultimately develops into someone she actively tough hard against becoming. Due to her characteristics, the voice and pristine way the film is shot, Nocturnal Animals could be accused of being cold and soulless - but it evokes, it exhilarates, it thrills. And it does all of those things masterfully.
Ford's fashion designing background bleeds over into his filmmaking, particularly the screenplay, as he threads together the two separate narratives like a seamless stitching of a well-tailored suit. Susan describes Edward's manuscript as "violent" and "sad", and those two simply adjectives perfectly describe the tone of the film, and some of the images will stay with you long after the credits roll. Severe tension and suspense are also weaved successfully into the film's fabric, as the prolonged sequence where Tony and his family are driven off the road and the confrontation (both verbal and physical) that ensues is pulsating. Once it's over, you can take a much needed breath.
Collectively, as an ensemble cast, the acting is fantastic. Individually, most performers deliver some of their best work to date. Adams deftly portrays Susan's present hollowness and also her youthful defiance and naivety, providing her second stellar performance of the year after Arrival. Although there's no physical transformation involved like his recent roles in Nightcrawler and Southpaw (unless you count a rather full beard as a transformation), Gyllenhaal's dual role as Edward and his fictional creation Tony is no less demanding, and the underrated actor is deserving of some long overdue awards love. Michael Shannon as the committed and sympathetic police chief who treats the law with little regard gives a reliably powerful performance; but Aaron Taylor-Johnson arguably steals the show as brutal redneck Ray, portraying the character with such despicable menace and psychopathy. He's certainly come a long way since his role as rocker Robbie in Angus, Thongs and Perfect Snogging. Ford's attention to detail permeates every aspect of the film, as he casts named actors such as Andrea Riseborough, Laura Linney and Jena Malone in one-scene roles that would often be reserved for unknown talent.
Firstly with A Single Man and now with Nocturnal Animals, Ford has settled into a very niche style of story; highlighting the lives of the elite and glamorous, only to smash the rose-tinted glasses and expose the true sadness and ugliness that lies beneath. Whilst the film itself is unsettling, it certainly settles something - Ford's early success in film was definitely not beginner's luck.
EB
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