Richard Linklater’s “Boyhood” is one daring movie project. This really is unlike anything you’ve seen or will see for a very long time. To interpret Linklater’s ambitions from previous films might prepare you for this movie’s narrative, which isn’t very interested in plot or storytelling. It’s about the aspects of life that we live, but don’t often see in the movies.
His interests are existential. Scenes feel as though they may be a prelude to some moment of truth, tragedy or an affirmation of some kind. They don’t happen – at least not for us to see. Life is happening to this film’s characters, whether they can find a defining moment or not. We are talking about a filmmaker with a very relaxed attitude as an artist. Making a movie for 12 years may sound like a big deal (and it is), but the final result is an easygoing experience.
He started the project in 2002, probably around the time he was beginning work on “Before Sunset,” a sequel to his earlier romantic drama, “Before Sunrise,” which explored a similar idea: what do we get from revisiting fictional characters, especially when you allow the actors who play them to bring their own life experience to the roles as inspiration? While it may be staged, you’re capturing something that feels true. “Boyhood” is about a boy and his family, plain and simple. It may be about made-up characters, but it has the same power as Michael Apted’s “Seven-Up” documentary series. Within this one movie, you watch a kid age from age 7 to 18 without having to suspend your disbelief. That’s good enough for me.
There will be a lot of arguments as to whether the lead, Ellar Coltrane, has given us a praiseworthy performance. He does manage to hold the movie together. It was an unquestionable gamble, but I think he did what Linklater tries to get out of most of his players, which is to relax and be natural. Some of his best films don’t feature very skilled acting. “Dazed and Confused” comes to mind. I don’t need or expect realistic acting from his movies, just realistic situations.
The movie has a visually consistent look while showing us fashion trends come and go, among other things that make me feel old. We get to see Coltrane and his on-screen sister played, by Lorelei Linklater, attend a “Harry Potter” book release, in costume for the occasion. We also get hints of “Star Wars” fandom, of the prequel-based videogame generation. Yes, I saw kids enjoying these things, but my point is that they’re all grown up at the end. I’m reminded of what has fallen into the realm of common nostalgia. Maybe it’s time for me to take interest in World War II.
It is also amazing to see the parents in the film, portrayed by Patricia Arquette and Ethan Hawke, start off in their prime as sexy movie stars and slowly age into what look like someone’s parents. It’s threatening.
Are you, whoever you are, going to like “Boyhood”? Among a few phony sounding exchanges in the lead character’s later years and the standard overused element found in a lot of Linklater philosophical dialogue “I was reading this article where…,” I would say that the movie does feel longer than it needs to be. I think that editor Sandra Adair had a big job that required a few more decisions to condense this project into a standard movie length. The two-hour-forty-five-minute cut I saw could have waited for blu-ray. Some people may get bored with this movie, but I am too busy feeling fascinated.
Bennett Duckworth is a film fanatic who lives in Louisville and goes to see a movie in the theater at least once a week. He has kept a movie review blog since September of 2011 with the mission of writing about every new release he sees, as well as new trends in filmmaking and classic films he loves. You can read more of his reviews at www.bennettduckworth.blogspot.com.