Nocturnal Animals
(Tom Ford)
The first thing I said to myself as this bizarre film opened was; "did I accidentally put on a David Lynch film?" To say that Tom Ford's Nocturnal Animals felt 'Lynchian' might be an understatement. While the trademark weirdness isn't there per se, the tone and overall feel cannot be denied.
The film is split into three parts, all told simultaneously. The first part is current day, where Susan is a wealthy art gallery owner who receives a manuscript from her ex-husband, Edward. The manuscript is titled Nocturnal Animals, his nickname for her. Their split sparked something in him and gave him the drive to write the story. The second aspect of the film is the manuscript itself, which Edward inserts himself in as a character named Tony. Tony, his wife and his daughter are driven off the road. His wife and daughter are then kidnapped and he takes it upon himself to find justice, all with the help of a Detective who seems determined to right those wrongs. Reading this manuscript sparks memories of her relationship with Edward, which is where the third story comes in. Told in flashbacks, we see how these two got together and ultimately fall apart.
Ford's sophomore effort is compelling enough to keep you nervous for everyone involved. The roadside incident is frightening for anyone who is a family man. The image of seeing two men drive off in your car, while your daughter screams for you in the backseat is terrifying. Ford slowly and meticulously builds the tension in this scene, which escalates to the point of no return. We know these men are up to no good, it's like watching a train wreck in slow motion. There might be some disconnect with the characters involved a little bit though, as we know that Susan is simply reading a story from her husband. It all depends on how believable Ford makes you connect with these fictitious characters.
It's easy to see how this manuscript was inspired by Edward's real life. Events we discover from their past unfold and give deeper meaning to occurrences from his story. These story elements are devastating enough for Susan to want to communicate with him once more. Her current marriage is a shell of its former self and she realizes this. This manuscript shows up at a particular time to have Susan question her decisions and ultimately reveal how superficial she is.
Stellar performances from Gyllenhaal, Shannon, and Taylor-Johnson elevate this film a bit. Amy Adams is one of two anchor points, but she is mostly seen just being depressed while reading this manuscript. A tad underwhelming for me, especially with how good everyone else is. With a tight script and meticulous directing, Ford compliments the actors, but I can't help but ask myself if I card enough for these people. Yes, Gyllenhaal's story is depressing and I want to see him succeed, but we all know it's a story within a story. Adams garners no sympathy from me and bits of the story left me a little confused. Ford goes for an anticlimactic ending that feels ominously ambiguous. I wanted an answer or two and ended up with more questions.