Waxing [cinematically]: Boyhood

It’s been five full days since I saw Richard Linklater’s new movie ‘Boyhood’. I’ve thought about it multiple times in each of those days since.

In writing this, I’m almost more consumed by my thoughts of the last week than the movie itself. The truth is, the move is so beautifully presented, so swift in its movement in a young boy’s growth, that you forget some of the earlier scenes. In a coming-of-age story, everything replaces itself. There isn’t a current state of affairs you can harken back to.

It reminded me, somewhat, of reading Garp, and trying to remember those first few chapters where you got to know this new person. What was he like back then? Could we have seen things coming that happened later?

Boyhood wasn’t so literary and it wasn’t as long as a true novel. Instead, Linklater employed a pastiche-ing strategy, at least at the start. Twelve (12) clips of 10-15 minutes, comprising a boy’s formative years. Comes together to make a movie.

He didn’t ultimately go with that. Some years are more dynamic than others. The mother’s (Patricia Arquette) story needed its time to breathe. The father (Ethan Hawke) drew watchers in too and required time. We saw him become exactly the type of guy that his first love wanted — and it was so fulfilling see that self-actualization actually make it into the film (in one of the final scenes).

It turns out, the pastiching was more than just the formatting of the movie. And I can’t say that without thinking of the ‘Before’ trilogy. In those, we had a twist of sorts — a bare-bones romantic engagement that the audience was invited into. And with that close-up intimacy, we’re allowed into an intimacy among the characters (Hawke and Julia Delpy).

Much the same, here, we see Linklater do something to the form=function equation which is really higher than mastery. It’s a special thing to see — and a special see to be a part of in the current.

In ‘Boyhood’, we see pastiching of moments come together to tell the story. And guess what the film itself stands on the laurels of — moments coming together to make up a whole. It’s an integral moment of the movie (you’ll know what I mean once you’ve seen it) and a true lesson that our characters learn. Not just Mason (played over 12 years by Ellar Coltrane), but his surrounding family as well.

Aside from that, as a viewer it was a welcome party to a journey of sorts. You can sense that over a dozen years these characters have grown together — professionally, personally, in regards to attachment of the story, etc… That was truly a joy.

Boyhood was the best reviewed movie I’ve seen. I knew it was a critic’s darling before I saw it. It’s hard to believe that it would live up to that hype. But it did. There aren’t holes worth tearing apart. It was shot beautifully, written sentimentally, and made whole by moments of acting prowess.

An absolute must see.

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