Originally posted December 28th, 2020.
Anthony Hopkins is beyond extraordinary, switching attitude on a dime as a senior with dementia, putting his daughter, Anne (Olivia Colman) through her paces. Olivia Colman displays an incredible amount of restraint as the two play off each other dealing with his erratic confusion. When you see Hopkins travel this highly emotional journey, you will understand why he was hand-picked by Zeller. Hopkins gives a truly sensitive characterization of a man losing his grip on reality, and the toll it takes on those closest to him.
French playwright, Florian Zeller, revealed to us in Q & A at Sundance 2020 that he even named his character Anthony and used Hopkins’ real birthday in the screenplay as he dreamed the impossible dream of the actor accepting the role. This is Zeller’s first film, and not in his native language. It’s based on his successful play of the same name. Inspiration for the play came from seeing someone who helped raise him become confused, forgetful and disoriented when he was just 15 years-old. It made an impression.
Zeller was struck by strong reactions he received as the play was translated and performed in several languages in as many countries. That’s when he realized the subject was universal and decided to work with his writing partner and translator, Christopher Hampton, to make it into a film. It’s purposely structured as a puzzle or labyrinth, with multiple layers that have to be peeled back slowly to unravel what’s really going on.
Zeller purposely tells what appears to be happening from inside Anthony’s head as he navigates at this stage of life. Anthony Hopkins goes through dream sequences where he doesn’t recognize those closest to him. The actor shows agitation and sometimes fury whenever anyone tries to tell him what to do or if they tell him he’s wrong. Blank faces or corrections only upset Anthony more. And the look on Hopkins’ face when he takes a pregnant pause before showing utter befuddlement is palpable.
You can almost see Olivia Colman as Anne bite through her lip trying to keep Anthony from railing at her for any reason. She is so sweet and patient at times, and so downtrodden about the situation at others. Her life is not her own, having to stop whatever she’s doing to come when he calls or check when he doesn’t. And he’s in complete denial of his condition, charming as well.
The scenes where Anne has tried to hire yet another care giver after he’s thrown a parade of others out, shows just how cute he can be, until he faces reality. Imogen Poots, as that adorable new caregiver, Laura, tries to keep Anthony in line. He tap dances for her, which daughter Anne says she’s never seen before. But when she urges him to get dressed or take pills, he rebels. Hopkins ability to change moods abruptly is jarring. He’s downright frightening.
Cinematographer, Ben Smithard, Production Designer Peter Francis and Editor Yorgos Lamprinos are to be commended for using the rooms in the various apartments or flats to not only keep Anthony confused, but us as well. That’s the point. The kitchens are similar, but not the same. They are decorated differently. The hallways are similar, too, and when Anthony opens what he thinks is the entrance to his bedroom, it’s not! They’ve created a diversion that makes you question Anthony’s whereabouts.
But Zeller adds a comedic thread using Anthony’s often missing watch. Is it really missing or did he put it somewhere and forget where he put it. He even accuses others of stealing it. It’s a device Zeller uses to lighten the mood here and there, which is always a problem for poor Anne. The other running story is that of Anne’s sister, Nina. She’s missing at the beginning of the film, but Anthony still thinks she’s around. He constantly punishes Anne with comparisons.
This is a very powerful film following the journey of a man who is slowly losing his grip on reality and acting out against his loved ones. It’s also about isolation, which many are becoming more familiar with as the months pass during a pandemic in winter. Hopkins and Colman are sure to garner accolades for their performances exposing dementia in detail from Writer/Director Florian Zeller’s mind-bending, personal, point of view.
Sony Pictures Classics 1 hour 37 minutes PG-13
In select theaters December 2020. Wide release February 26th, 2021
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