A moving moment between Oskar Schell (Thomas Horn) and his mother (Sandra Bullock).
Hi there everybody,
Well, sorry for that long hiatus since last week's landmark post. I hadn't planned to get so revealing, but that is what this blog will demand. Anyway, the two posts I wanted to do last night ended up getting pushed back to today. However, I have now returned in full force to give you, at last, my post of Extremely Loud and Incredibly Close.
I had been wanting to see this movie from the day I saw the preview. Usually, when I see previews in the movie theater, I just shake my head, and want to get to the damn movie I came to see. Previews usually look nearly identical and because of this, they don't mean very much to me, you know. However, when I saw the premise of this one, I knew I had to see it.
I'll say right up front that I am biased, somewhat, in favor of Extremely Loud. Because the clips features the young boy, about 11, 12, 13 years old, around the time of 9/11 (that's about the same age I was at that time), and the kid was sad, overwhelmed, but he still took on a lot of challenge in searching for the place for this key. It was really inspirational to see, because when I was in the sixth or seventh grade, I felt really defeated by life, and overwhlemed by all the sights, sounds, and goings on I was encountering in the world. Even the name Extrmely Loud and Incredibly Close feels like life feels to me often. Plus, this boy's life (Oskar is his name) was torn apart by 9/11. So to say that from what I saw, it came very close to my heart, would be a very accurate statement.
However, that said, there were significant faults with this movie. There were many points in the sequence and the plot of Extremely Loud that just did not add up. Now, I don't want to give away too much here, because I highly, highly believe you should see it, or at least netflix it, when it is available. However, in Oskar's search for this key's corresponding lock (likely found in a post box or a safe deposit box), the outcome is left inconclusive, because the theme of the movie changes toward the end. What? You mean you're gonna devote half the movie to this quest, and then you're not gonna say anything about what the search produced? It's one thing to shift your focus, still, you could have at least one scene explaining the outcome of this expedition, and the effect it had on the others involved.
Those plotholes notwithstanding, the characters were what really drove the story, and gave it its credibility. First of all, the centerpiece of this film is the Schell family, with young Oskar, and his parents, played by Tom Hanks and Sandra Bullock. Oskar comments that his father, an unusual jeweler "never treated him like a kid," involving his son in all kinds of projects, cartography, and searches. His father tells him of a lost "Sixth Borough" of New York City, and keeps Oskar guessing. Oskar's fears continue to haunt him, like one scene when his father insists that he go on the swing, but Oskar is scared of swing rides, and refuses, leaving his Dad to pout away in a disappointed huff.
One bright morning in early September, terror strikes. Oskar's father went to a meeting high up in the World Trade center, on what Oskar calls "the worst day." After the flights slam into the towers, Thomas, the father, makes several distress calls home "Oskar, are you there?" This is the most raw, jarring part of the film. Just the panic, the sudden ripping of a loved one out of life, really carries this part. Later, reviewing picture accounts of the attack, Oskar finds a man jumping from the building to his death, who resembles his father. Again, it's that image of something so engulfing, so horrible, that it would make someone want to jump to their death, and that happening to someone you love and value, that really tears at the heart, and makes you cry. That's what hurts me when I think about people I care about dying. That imagery stuck with me.
For a whole year after the attack, Oskar will not look at his father's belongings, not being able to face it anymore. Then one night he looks in his closet, and knocks a blue vase off the shelf. As it shatters, it reveals a small envelope, with only the name Black written on it, and a key inside. Now Oskar embarks on the big search, in order that it might resurrect some important part of his father's life. This epic search takes him to every person in New York City named Black. This forces Oskar to go up and talk to a lot of people, which is difficult for Oskar to do.
Sometimes, the people Oskar meets are scary at first, like the renter in his grandmother's apartment. His grandmother doesn't tell him why the renter is dangerous, just that he must be left alone. One night, his grandmother is missing. In the apartment complex, he confronts his fear, and goes into the renter's apartment. He finds only an old man, who doesn't speak, only communicating with quickly written notes. Oskar comes to suspect that the man is, in point of fact, his long-lost grandfather. I thought so, too, since the man looks so much like Tom Hanks.
Throughout all this, Oskar has his own unique character development. For a young boy his age, he wields an extraordinary amount of knowledge on many fronts, but he is also cantankerous and impatient with people. He hustles the old man around with him, and a few times, lashes out severely at his mother. He even proclaims "I wish it was you instead of Dad!" A few moments later, he comes up and says softly "I didn't really mean that." She replies "Yes you did." Clearly Oskar has his dark side. However, there is this essential feeling of vulnerability to him. One scene, he lists, and begins screaming out, all the things in the city that startle or terrify him: crowds, trucks, bridges, subways, airplanes, loud sounds. Throughout the film, Oskar slowly confronts fears, and starts to mellow out by the end.
The above scene got a huge laugh from the audience. It's a good example of something that you laugh at, but you can also connect with. Not that you would want to put on a gas mask when you take the subway, but we've all had times, especially when we're little, that we've had to confront big, scary things. I know lots of times when I was a kid, I had no choice but to go in and get into the thing that made me scared. Maybe you have had that happen, too.
Anyway, soon, it becomes revealed that the point of all this is not just the search itself. It is about dealing with the death of this inspirational father figure. It is in these moments that the movie shows its real strength. There may have been flaws in the execution, but this movie had a lot of heart. Thomas Horn, in his first big role here as Oskar, really showed that he has strength as an actor. Tom Hanks, of course, has a simplicity and identifiable-ness to his role as the father. Any movie with Tom Hanks has an extra degree of credibilty to it, in my book. Sandra Bullock also worked surprisingly well for her role, too, though I find it hard to believe that she would let Oskar go out into all those strange, possibly very dangerous, encounters all alone.
However, that leads to my next point, a key part of the movie. The characters, and the premise, aren't exactly believable. You wouldn't look at it and say, "Oh, yeah, that's totally true!" By the same token, the whole thing isn't totally un-believable, either. Many of the traits of this family weren't exactly part of the "every-family," but they made sense to me somehow. I could see how that would be possible. A lot of brilliant people, when they were young, were really restless, impatient, sometimes downright prickly. I admit I was difficult when I was little. Those same people often have lots of fear, or pain. This makes for complex, deep characters, which is what makes a movie grab you, and never let you forget. So, for all its faults Extremely Loud had a lot of heart. You can't fault it for that.
I know that it's currently Oscars season, and all the movies are hamming up their dramatic credentials, but I think this one came from a deeper place of creativity. This has to do with how we deal with loss, and how we choose to honor our lost loved ones. This is especially true of a horrifying death, like the one Oskar's father suffered. On that note, I have a little sketch I did four years ago that I'd like to show you.
I started out to do this as a quick sketch of a candlelight vigil, but it became more detailed, dark in texture, and soulful. You can see that the two women are huddled together in darkness, with only the light of the candles they hold. This is a simple expression of what Extremely Loud conveys, that it is about bringing people together, and transcending their suffering. To go after the goal set out for him by his father, Oskar must connects with people of all races, classes, and social types. Then, he must connect with his mother, and his own family. That's what amazed me about it, was the bringing together of all these different types of people. They all have that burden of going through losses together.
Think of that the next time you're in some crowded public place, that all of the people you see have, or will have to, deal with sadness, loss, and ultimately their own death. The thing that hurts everybody actually brings us together. Thanks everybody! I'll have some more good material for you guys in the next few days.
See ya, and keep wondering, folks!
