Matt Lankes/IFC Films |
As far as process in art goes, it’s not often something
we consider in movies. When it comes to painting and sculpture, the methods and
materials used are often integral to the finished product. More than that, it
is often essential whether an artist has produced from a subject or the extents
of his own imagination. Narrative filmmaking and the criticism thereof usually
focuses on the finished product without much consideration for how the director
arrived there. This is, I suppose, because actual production times on movies –
not including the script writing process – is usually fairly standard without a
great deal of variation, taking no more than a few weeks to a couple of months.
But now there is Richard Linklater’s Boyhood,
a movie that demands attention to the method behind the process. Because
Linklater made the film over a period of twelve years, gathering the same
actors together for several days once a year to chronicle the growing up process
of Mason Evans (played through a dozen years by Ellar Coltrane), we have
little choice but to examine how that method makes Boyhood different from any other movie that takes place over a long
period of time.
That the story here is quite simply that of a boy growing
up into adulthood makes the method essential. We get to watch the same actor age
year over year, seeing his baby plump cheeks at six melt away to the
awkwardness of a pre-teen, which in turn gives way to the budding facial hair
of an adolescent. Truly there is almost no plot to speak of, though there are
plenty of movie clichés to fill in the milestone events that arise. There are
the new husbands of Mason’s mother (Patricia Arquette) who are so wonderful at
the start, but transition into alcoholic assholes over time. This is the stuff
of facile screenwriting. It’s not especially interesting and Linklater and his
collaborative actors don’t really take it anywhere substantial, but the point
is really to see its effect on Mason. They are ways of marking time as we watch
him grow up.
There’s very little that’s remarkable about Mason’s life
and no reason we’re ever given why Linklater is telling this story and not some
other. But I discovered as the film reached its conclusion after more than two
and a half hours that breezed by that this isn’t really just Mason’s journey.
The people around him change and grow up as well. His mom transitions from
struggling single mom to college student and housewife to jerks, finally arriving
at professional woman content with being single and a mother. Mason’s father
(Ethan Hawke) is absent through the beginning years and then becomes
every-other-weekend Dad, a man driving a teenager’s car and trying to find
himself, finally settling down as an insurance company re, husband and new
father. Mason’s sister (played by Linklater’s real-life daughter Lorelei) grows
up into a young college woman alongside Mason. As Mason grows and changes, so
do those around him, informing his own experiences and the changes he goes through.
Then you can hardly help but think about how watching other people around you
become different people and find themselves (a process that never really stops
during your entire life) you respond and change as a result.
The script provides as many moments of naturalism –
particularly those involving Mason and his father or Mason and a couple of
females along his journey – as it does clunky scenes that are the inevitable
result of using untrained actors in collaborative exercises. One scene in
particular stands out in my mind for having forced dialogue that comes across
as what teenage boys think they sound like. But that scene also brilliantly
plays with audience expectations we have from a diet of formulaic plots. We
watch these boys engaged in behavior that could potentially lead to an awful
accident, and at once moment Linklater is clearly setting us up for one, but
nothing transpires. He seems to be telling us that these actions are typical of
all boys as they grow up, but the vast majority of these moments are benign in
their conclusions. There was a collective audience gasp when I saw it and a
palpable release of tension when the scene ended with no tragedy. That reaction
forces us to evaluate why Linklater chose to include it.
Removing from consideration the unique circumstances of Boyhood’s production would leave a not
all that interesting film. It is precisely the method Linklater used that makes
it intriguing and helps it rise far above the material. Linklater has often
experimented with different approaches to storytelling. His debut Slacker was a meandering narrative that
never stuck with the same character for more than a few minutes. The Before Sunrise series revisits the same
romantic couple three times over eighteen years (so far). He’s playing with
traditional narrative formats. And with Boyhood
he gives us a work that allows us to observe with intimacy the passage of time
within a family. It comes off as eminently watchable. There’s something about witnessing
the march of the clock, a dozen years spreading out before our eyes in the
space of 165 minutes, that gets at something uniquely human. We know what it is
to feel time go by and yet we hardly notice as it’s happening. We don’t notice
our own aging selves until we look in the mirror or an old photo and think
about what we used to look or be like. In Boyhood
Linklater comes as close as possible, I think, to giving us the feeling of
seeing the aging and maturing process take place. Strangely, though it’s not
traditionally or formally cinematic in the way another movie uses a time jump
cut, it is the most perfect example in
cinema of marking the passage of time. This is a hell of an achievement for
what it says about humanity and for how it makes us feel at every moment.
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