"My hands shake as I write these words."
Paul Schrader certainly has themes that he likes to revisit.
One does not have to look far to see elements of his latest movie ‘First
Reformed’ that feel reminiscent of his past masterworks. “God’s lonely man” was
a tagline used to describe ‘Taxi Driver’ and also seems applicable here, as is
the protagonist wrestling with his inner demons seen in ‘Raging Bull’ as well
as the crisis of faith seen in ‘Last Temptation of Christ.’ But while the broad
themes are similar, the execution pushes beyond anything the veteran filmmaker
has done so far.
Ernst Toller (Ethan Hawke) is the pastor of a First
Reformed, a small church in upstate New York with a prestigious history but
dwindling attendance. Leading what appears to be from a glance a stable and
faith filled life, Toller rapidly spirals out of control after a soul-shaking
encounter with an unstable environmental activist and his pregnant wife (Amanda
Seyfried).
As well as themes of faith, inner demons and self-destructive
tendencies, another noteworthy aspect of Schrader’s filmography is his love of
transcendental filmmaking. Before he became a writer/director Schrader wrote a
book on the method of making movies under a transcendental lens and theorised
that empty space within a movie’s plot can immerse the viewer rather than serve
as a disconnect. By leaving the viewer room to ponder the deeper implications
of what the film is trying to say, thereby drawing them in deeper to the artist’s
intent.
You can find a lot of transcendental method within ‘First
Reformed’ and it is necessary to the film’s overall impression on the viewer as
Schrader is presenting several hefty themes. The film unfolds almost as a
stream of consciousness but framed around a deeply layered character study that
paints its portrait slowly and assuredly. It’s only by the end of the movie
that you are granted the full picture of who Ernst Toller is and how deep his
inner demons run. It plays to the strengths of what Schrader has exhibited in
so many other masterful screenplays. He presents an unreliable narrator rocked
by his own crisis of faith, and uses each of those elements to evoke such
constant intrigue.
Just as Schader uses transcendental techniques within the
narrative, he also uses them within the framing and composition of the film.
The film is shot in academy ratio which not only creates an enclosed space
around the width of the frame, but also expands the top. There’s a lot of
negative space within numerous shots in ‘First Reformed’ which reflect the
emptiness Toller seems to feel as his faith becomes more fragile. Or perhaps
the space is meant to evoke the sense that there is a presence within his life,
just one that remains elusive and ominously hangs over him.
Though this measured approach means the pacing of ‘First Reformed’
can drag at times, the spiritual atmosphere of the film is incredibly
effective. As Toller grapples with his own crisis of faith we feel each empty
second passing by. We can empathise with his own aguish as he searches for
meaning and hope in a world that seems increasingly cynical the longer we
inhabit it. The film also retains an impeccable sense of focus, never losing
sight of its own themes and constantly developing each one as the plot
continues to unfold.
Perhaps the most involving aspect of the film is watching
Ethan Hawke’s performance because it is truly mesmerising. Hawke plays the role
with such reserved intensity that he instantly invites the viewer to uncover his
inner workings. Hawke is pleasant and empathetic enough to paint a portrait of
a kindly preist, but also elusive enough to indicate that something more
sinister is lurking beneath the surface. When we do get glimpses of those
darker inclinations within Toller Hawke once again nails the role. He
effortlessly conveys a palpable sense of menace, as if this man’s unravelling
could easily lead to an unstable and dangerous individual. It’s part of what
makes the viewer invested in Toller retaining his faith. For no other reason
than out of fear of what might happen to others if such a man were to lose it.
There is a lot of ambiguity to Schrader’s film that some
viewers may find overly obtuse. No aspect of the movie provides a clear cut answer
and sometimes you have to search for meaning within the events in the same way
the characters themselves continuously search for meaning. There are also
moments of heavy symbolism that break the realist of this once grounded drama
and become completely expressionistic. Certain sequences can be thought of as
being entirely symbolic or only partially, and it’s that unclear distinction
between the two that drives so much of the film.
But even when you look past the allegorical moments, ‘First
Reformed’ still functions as a deeply compelling drama. The emotions that the
script conjures are earned and raw, creating a picture that depicts a deeply
damaged individual who is slowly being destroyed from the inside. Anyone who
has undergone a disconnect with the world around them can relate to Toller, and
subsequently fear for what he may become.
Dramatically powerful and thematically resonant, ‘First
Reformed’ stands alongside some of Schrader’s best work as a filmmaker.
No comments:
Post a Comment