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.
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The story of the five-day interview between Rolling Stone reporter David Lipsky and acclaimed novelist David Foster Wallace, which took place right after the 1996 publication of Wallace's groundbreaking epic novel, 'Infinite Jest.'
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)
The Beatles song referenced by Wilson's brothers was John Lennon's "Girl" from the album "Rubber Soul". It was one example where the Beatles began displaying prominent The Beach Boys influence in their music. Taking inspiration from the cohesiveness of "Rubber Soul", Brian then set out to make "Pet Sounds" an album with no filler tracks. The Beatles then responded to "Pet Sounds" with "Revolver" and, more famously, "Sgt. Pepper's Lonely Hearts Club Band" after Brian failed to complete "Smile". See more »
During one of the pool scenes, Mike Love demands that he and Brian throw away the "Smile" lyrics and rewrite them as "normal" Beach Boys songs. In real life, some of those songs *were* rewritten for the "Smiley Smile" album, but they weren't any closer to being "normal". See more »
Sometimes it scares me to think where it's coming from, you know? Like... There's someone else in there, not me. Well... What if I...
[lights a cigarette]
What if I lose it and never get it back? What would I do then? Take a listen to this again, I wanna... do something with it. Um... I've got - I think I've got it. The music part, it worked out in my head, but... I don't know anything else except that it should... it should sound like, you know, a cry, but in sort of a good way ...
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First, there's concert footage of the recent Brian Wilson, himself, singing "Love & Mercy", and then at the very end there is audio of a brief recreated studio recording of Good Vibrations, with '60s Brian leading the dialogue. See more »
The version which premiered at the 2014 Toronto Film Festival and a few subsequent public screenings contained a few extra scenes, such as an "I Get Around" studio sequence, and a scene where Wilson meets Phil Spector on the street. The closing song "One Kind of Love" was also absent from this cut. See more »
A complex, unorthodox and emotionally resonant biopic.
While I generally enjoy most music biopics, it's hard to argue with the fact that most of them tend to subscribe to a very familiar pattern. Every once in awhile, a film comes along that break the mold - Todd Haynes did it in 2007 with I'm Not There, which featured six different actors portraying Bob Dylan at various points in his career. That film's writer, Oren Moverman, offers a similarly unconventional approach to Love & Mercy, which hones in on two critical periods during the life of Beach Boys songwriter Brian Wilson.
We first encounter Brian (Paul Dano) during the 1960s, shortly before the band is scheduled to head out for a tour of Japan. Reluctant to return to the road, Brian convinces his brothers that he belongs at home in the studio, where he'll be more effective at creating the band's next album. The boys finally acquiesce, and Brian hires a collection of studio musicians to begin crafting what would ultimately become Pet Sounds.
Our next encounter with Brian comes during the 1980s, where he's portrayed by John Cusack. Brian meets, and attempts to court, Cadillac saleswoman Melinda Ledbetter (Elizabeth Banks), but she quickly discovers that Brian's life is not his own when she meets Dr. Eugene Landy (Paul Giamatti), his therapist and legal guardian. Landy controls every aspect of Brian's existence, from his diet to his personal relationships, all the while insisting that he has Brian's best interests at heart.
The film frequently cuts between these two periods in Brian's life. We see the depths of his imagination and creativity as he employs a range of nontraditional elements to record Pet Sounds, desperately trying to bring to life the music he hears in his head, and all the while sliding further and further into the grip of severe mental illness. And we see the results of that illness, as Brian becomes a timid, broken man, cut off from his friends and family, allowing himself to be controlled and manipulated, and never able to find peace.
Director Bill Pohlad does a marvelous job of illustrating the parallels between each on screen version of Brian Wilson, and both actors give brilliant, emotional performances. Dano in particular turns in what can arguably be called the best work of his career, perfectly embodying Brian's childlike glee as he excitedly flits around the studio, and capturing the anguish and desperation as his mind continues to deteriorate.
Unorthodox in its approach and admirable in its complexity, Love & Mercy wisely chooses not to paint a definitive portrait of a man whose life couldn't possibly be summed up in a two-hour film. By confining the narrative to these two specific chapters, we're able to go far beyond the surface and reveal the inner workings of a tortured genius, and shed light on a story that few people are familiar with. Love & Mercy is a truly exceptional film about the internal and external struggles of a truly exceptional person, and is one of the most emotionally resonant experiences I've had with a film this year.
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