In the 1960s, Beach Boys leader Brian Wilson struggles with emerging psychosis as he attempts to craft his avant-garde pop masterpiece. In the 1980s, he is a broken, confused man under the 24-hour watch of shady therapist Dr. Eugene Landy.
Will Henry is a newly single graphic novelist balancing parenting his young twin daughters and a classroom full of students while exploring and navigating the rich complexities of new love and letting go of the woman who left him.
James C. Strouse
The film serves as Garrone's English-language debut and will interweave three separate story strands bookended by brief bits in which Italians Alba Rohrwacher and Massimo Ceccherini will ... See full summary »
Harley loves Ilya. He gives her life purpose and sets her passion ablaze. So, when he asks her to prove her love by slitting her wrists, she obliges with only mild hesitation, perhaps because of her other all-consuming love: heroin.
Brian Wilson is the creative soul of the Beach Boys, but he paid a heavy price for his talent. That especially shows during his peak artistic years in the 1960s, as his inner demons and obsessions trying to please his abusive father drive him to a mental breakdown that would plague him for years. In the 1980s, with Brian barely functional under the domination of the unscrupulous Dr. Landy, Brian meets and falls in love with Melinda Ledbetter. As their relationship grows, she observes Brian's crippling subservience to the abusive psychotherapist with growing alarm. Ultimately, she must take action with a love willing to stand up to oppression she cannot ignore. Written by
Kenneth Chisholm (email@example.com)
Brian's father Murry (Bill Camp) plays "I Live for the Sun" by the Sunrays and tells Brian that it's going to be a No. 1 hit. The highest "I Live for the Sun" climbed on the Billboard Top 100 was No. 51. See more »
When Brian jumps off the sailing ship with Melinda, he's wearing tennis shoes and plain white socks. However, when he walks ashore, he's wearing blue (or grey) socks. See more »
I'd like to make a toast. To "Good Vibrations", Brian's pocket symphony to God. And the biggest selling single the Beach Boys ever had. Ever!
Brian, the suits at Capitol must be happy.
Yeah, I guess you can tell the record company to screw themselves. I mean, you can do whatever you want, Brian. Right?
Now what are you going to do with all that freedom?
Did my dad call?
No, he didn't. You want me to get him for you?
Hey Van, what do you and Brian have cooking?
Van Dyke Parks:
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Personal genius has been brilliantly portrayed in film before: "A Beautiful Mind" for maths; "Amadeus" for classical music; and more recently "A Theory of Everything" for cosmology. Behind such genius is often a degree of dysfunction, if not borderline madness.
Here with "Love and Mercy" we get an insight into the creative churning of Wilson's tortured mind. But it is very much a time-banded view, focused on two key periods of his life: 1966, with Paul Dano ("12 Years a Slave"; "Looper") playing Wilson, and the 1990's where Wilson severely drug-damaged, mentally ill and now played by John Cusack - is being taken for a ride by an unscrupulous and dangerous psychiatrist, Dr Eugene Landy (Paul Giamatti). Playing a key role in his recovery is car saleswoman Melinda Ledbetter (Elizabeth Banks) who Wilson desperately latches onto as a drowning man might grab a life-vest.
Whilst the film could be described as a game of two halves, this is not how it is played out. We jump between both eras without warning, which works extremely well in maintaining the interest in the two parallel stories.
In biopic terms, the 60's segments are probably the more gripping, providing a riveting insight into the production techniques of the iconic "Pet Sounds" album, frequently cited as one of the most innovative and creative albums ever released. The film also features superbly recreated 'old footage' (cinematography by Robert D. Yeoman) showing Beach Boy TV slots and video productions. Wilson's genius is neatly reflected through the admiration of the session musicians: they'd "played with them all" Sinatra, Presley, Sam Cooke, etc but Wilson was something else entirely.
Paul Dano is just superb as the troubled youngster, physically and mentally abused by his father (an excellent Bill Camp) and exhibiting mental instability even before the dangers of LSD become evident. His slide into near insanity is brilliantly reflected in an audio soundscape that merges snatched Beach Boy fragments and natural sounds into a cacophony. If Edward Tize and his sound department doesn't get nominated for an Oscar for Best Sound Mixing there is no justice in the world.
In the 90's segments, Cusack delivers his best performance in years as the older Wilson. And after being rude about Elizabeth Banks' directing skills for "Pitch Perfect 2", I feel I have to express my admiration for her portrayal of perplexed astonishment as Melinda, a woman with a mission. Both extremely subtle and utterly enjoyable performances.
In contrast, the excellent Giamatti seems rather over the top as the scheming Landy, although internet articles suggest that it is a scarily accurate portrayal of the degree of control he exerted.
Directed by Bill Pohlad (someone normally found in the production office), it's difficult to fault such a lovingly crafted film. The pre-credits reference to a 'building scream' (I assume relating to the 'goose-bumpy' bit of "Good Vibrations") is never resolved. And (as I rather missed it in the film) the motives for Landy's extreme actions are a bit obscure (in reality, the Wilson family later discovered he was named as a 70% beneficiary in Wilson's will). However, this film, which deserved a broader and better-publicised release, stands as a superb tribute to an iconic musician and comes with a "highly recommended" from me.
(If you enjoyed this review, please see the illustrated version at bob-the-movie-man.com and enter your email address to receive future reviews. Thanks).
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