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The Story
The film follows Lee Chandler; a very lonely and mentally lost janitor, who mostly stays by himself and holds a brutal and almost unbearable past, which has led him to live a very repetitious, routine-filled and reluctantly life. But everything suddenly changes when he gets a call about his brother, Joe Chandler, who has suffered a heart attack, which unfortunately claims his life before Lee manages to reach the town of his childhood and tough past, Manchester. It isn’t easy for Lee, having to confront both the people and the feelings of which he has tried to escape from for all these years. The situation doesn’t exactly change for the better once Lee receives Joe’s Testament; wanting Lee to be the guardian of his brother's teenage son, Patrick - and this despite of the fact that it was never discussed between the two brothers - even if Joe has been sick long enough to plan it properly. But evidently, he has everything planned out carefully, with enough money to cover the expenses for moving to Manchester and settling in. But Lee has a tough time seeing himself go back the town he tried to forget for all these years; tough to look his family in the eyes; tough to change behavior and lifestyle and ultimately very tough seeing himself as a guardian and father figure to his nephew, Patrick.
'Manchester by the Sea' is simply a perfect slice of cinema, served on a silver plate with a strong but steady hand, by someone who truly understands the human mind as much as he does the movie medium. Not even every single summary online – nor the oversimplified overview of the plot above – is in any way worthy of the final film. This movie can’t be properly explained, but must be personally experienced from beginning to end, down in the comfy cinema seats, with the brain in one hand and the heart in the other – no popcorn and soda needed here, because I promise you that the brain is popping enough on its own while the heart is close to the bubbling over the edge, once the film catches the inner and intense emotional heights of which it is capable of. Keneth Lonergan truly knows how to stimulate the mind and set the feelings free, but what exactly is it that makes this film so damn successful on this level?
I think it can be presented as two oceans meeting, right in the middle of a scenic but subtle silence, where emotions speak without strenuous approaches and the visuals are wonderfully moving, without having to manifest themselves in metaphors. Director Kenneth Lonergan has a very sophisticated narrative style, which particularly shows its true strength when numerous flashbacks are woven almost unnoticed into the film. With these interwoven immediate plot points, as well as with the general editing throughout the film, Lonergan really shows us how to create an utterly unique tempo for the film, which is in perfect balance with the story as well. It is punctual, without being pompous and restrained without feeling too retreated. Too often we see flashbacks fumble instead of flowing and usually feeling way too fragmented in the plot of the movie. Sometimes you even lose track – or lose time – along the way. But somehow, ‘Manchester by the Sea' makes it all feel so flawless throughout. I have very rarely seen a film make such a good use of flashbacks as this. Actually, it might be an understatement to call flashbacks, when, at its core, it feels more like timeless moments, woven seamlessly into the contemporary narrative. Furthermore, the film does it ever so flawlessly, that it never quite feels like two or more timelines at the same time. In a way, it kind of works as this wielded companion piece to what precedes right then and now. It is almost like adjectives to an ongoing picture poem; it is explanations and extensions of the story we see and hear, right here and now, and it simply comes off so natural and pleasing to the eyes of the moviegoer.
Due to Kenneth Lonergan’s approach to the story, both in terms of the tactically told plot elements and the independent though oddly inviting aura, which lingers around it, 'Manchester by the Sea' hits completely different notes; looking like a small drop of water but feeling like the aftershock of a minor earthquake – it is something that really resonates through entire the body and soul. The film is very calm and restrained in its pace, yet the plot passes time more elegantly than other slow-moving movies I have seen – constantly evolving naturally, at a consistent level, which never feels completely clear to you until you suddenly find yourself at the end of the journey. I guess it is almost an enigma for me; trying to understand how a film filled with countless flashbacks, fragile characters who can’t speak out properly, narration which is nowhere to be found, and a story which never focuses on just one thing at a time, can evolve so elegantly and set itself up so smoothly without missing a beat?
The concept of ‘movie magic’ is often used in connection to something we have never seen before, but rarely will it be used in conjunction with a film like this, which honestly is a shame. But 'Manchester by the Sea' is movie magic in every sense of the word; make no mistake about this… superheroes, fantasy fables or various versions of invented voyages is nothing but a drop of water in the ocean that is ‘Manchester by the Sea'. But they aren’t in the same boat either, since ‘Manchester’ isn’t about being blown backwards by what you see; it is about sensing an inner storm out of what you experience. The film doesn’t have huge turning points along the way, nor does the plot feel pre-designed or produced within a common narrative context. What Lonergan has created here is neither linear nor traditional, but it is a perfectly competent story anyway.
This movie just feels so genuine and true to me, especially since there is finally a film, which understands how to use humor to support realism and vice versa. It isn’t overly silly nor unbelievable, but it isn’t too timid to be deceptive either – and as is the case with the rest of the film, these two elements are intervened excellently once again! Lonergan manages to create real and not the least realistic situations, where people are frustrated, in sorrow, feel miserable, appear frightened – or by human nature – become unable to repress their oppressive emotions about what is happening right then and now. But as I said earlier, there is no clenchy clichés to uncover anywhere... everything is put forward in a straight and honest manner, but with an underlying layer of humor that managed to truly maintain a much-needed balance in an otherwise extremely tragic tale.
'Manchester by the Sea' is like a collection of characters being stranded at sea; each at their own little individual island; each having tried to overcome the waves of the wild ocean; each having partly or completely giving up on themselves and thereby swimming back to their own empty island; each living alone because there isn’t any room for more people on their island, without one of them going under; each living in shame or regret of being on this island, but not wanting to deal with it or help others, even if they are in the same situation, because they have their own problems. But when the tide lowers, they are suddenly forced to walk through the strong stream and try to reach comfort, before the tide comes back and hits them when they are at their weakest point. ‘Manchester by the Sea’ has this feeling of fragile human beings walking around amidst each other, in the wide-open world of very small town, and as an audience we get to see the result of this, for better and for worse.
The Acting
It must be said: Casey Affleck delivers the performance that Ben could only hope to give. Ben Affleck is a bulky, slightly clumsy, though admittedly charming character, who has a face and a voice that have suffered in the same bearings as Ryan Gosling; good looking and quite charming, yes perhaps, but otherwise incredibly flat and monotonous acting skills unless typecast in the right role. Casey Affleck, in the role of Lee Chandler, delivers one of the best performances in recent memory – and it is completely without ever screaming in pain, screaming in grief, screaming in anger or scream in delight. Personally, I scream of pure joy over that fact.
When the distinguished golden trophies are distributed for the year’s most admirable performances, at the annual awards shows all over the globe, the price-pickers often select someone who really strives in physical or mental ways, up on the big screen. Leonardo DiCaprio finally got his Oscar last year, even though he should have gotten it much earlier. His role in 'The Revenant' is in many ways very good, but it is as ambitious as it is strenuous. A short summary of the plot could probably just as well have been as follows, "In the role of Hugh Glass, we will witness Leonardo DiCaprio crawl, cry, slobber and goggle through his prolonged and painful journey to get the golden man of the hour, called Oscar." DiCaprio is a great actor and it is a pity that he doesn’t win for some of his more intellectually challenging roles.
Although the film is indeed called 'Manchester by the Sea', I apologize anyway for getting a little off course here, but I promise you that there is a point to it all. Because Casey Affleck delivers the complete opposite in the role of Lee Chandler. His performance is driven by intense inner turmoil and emotional torture, which don’t appear very often in the shape of physical exertion, but more so with a simple glance or a sudden pause within a sentence or in his general tone of voice. I sincerely hope that the Oscar Academy awards him with a statuette for this all-time achievement. As mentioned earlier; all too often you will see actors who win because they endeavor a lot, exteriorly; either exposed as tears of anger or angst – to such a great degree –that the audience almost acts entirely out of a state of shock and awe; agreeing that this performance must be amazing because of how perplexed they become just by watching it. Admittedly though, this case can often be correct as well, while other times it just tends to come off as either preposterous, overplayed or just all in all a tad too much.
It is so wonderful to witness a role like the one Casey plays, where he says so much with so little and where the role is believable in the bareboned characteristics of the character – at any given point in the movie – and not due to any movie highlights filled with tears or rage. You know that one overly expressive scene, which the Academy always uses every time they announce the nominees for best performance? Well, Casey doesn’t have that scene, and that is exactly why his performance is so great. His performance is consistent, complete and complex, despite how natural and subdued it feels – yet one can easily spot his inner turmoil, tortured past, fragile frustrations and so on. For example, try awarding extra attention to his eyes when he enters the morgue of the hospital, in a particular scene in the movie… It is these moments that impress me most – moments that are true to being just that – a moment, which will disappear as soon as you blink, yet will remains on the retina for an extended period in time.
The acting is also extremely solid all-around. The rest of the cast has the same restrained and low-key approach, which shows that the director knew exactly what he wanted from his actors. Michelle Williams is a good counterpart to Casey Affleck, although I would argue that her presence is too short-lived to judge probably, thereby having a ‘best actress’ nomination feeling a little hard to support in my honest opinion. She is indeed very good, but I don’t view her as having one of those standout spare-minute performances of all time. Kyle Chandler is the perfect and charismatic brotherly bear of man, who is charming and good-natured to such a degree, that the fact that he has an incurable disease hits you even harder. He doesn’t spend much time on screen, but his role feels tentatively timeless when he is... C.J. Wilson is also worth mentioning, acting as another character with so much heart and significance stored in one single person. Lonergan has honestly chosen the perfect actors to play in the role of "human being" just right – and that is fundamentally crucial in a movie like this.
The Technical Aspect
Both the direction, the script and the seamless editing makes it a desired dream for any actor or actress to present their character perfectly, while getting the best out of each individual moment, and this is furthermore the case for the film as an experience and thereby empathy of its audience. As mentioned earlier, it is especially the elegant storytelling-style using flashbacks, which is being put forward so flawlessly throughout. It is rare to see flashbacks appear so thoroughly and thoughtfully as they do here. Lonergan really understands how to set up scenes and simply let them speak for themselves; often in complete silence. There aren’t a lot of intense close-ups throughout, but when they are there, they are in fact used more faintly, while the more aggressive or intense scenes holds the camera at a deliberate distance. Additionally, there is even another scene worth mentioning, where Lee sits in a chair and listens to Joe’s final will being read out to him. Notice the carefully crafted cross-cutting of the scene, which makes use of a single flashback, but presents it in several individual pieces. Incredible that something so simple can be so effective and feel so complex all at the same time.
Generally speaking, ‘Manchester by the Sea' plays out tremendously natural and truthful in what Lonergan is aiming for with this film; which means that the image isn’t visually abused with strong color contrasts or fancy, free-hand camera work throughout. Lonergan doesn’t wish to impress by using methods having the same effect as splashing a bucket of cold water straight into the face of his audience; that is too easy, too eccentric and not the least out of character for the film. Because even so, both the setup and editing of each individual image appear almost perfect in their every execution. The visual language is extremely pervasive - not notably on an individual level - but as part of the entire narrative. Therefore, ‘Manchester by the Sea' isn’t the kind of film you should pause, print and pin to the wall as a framed photograph just because the cinematographer paints every picture with potent and flamboyant brushstrokes. It isn’t all about the words, but the visual phrases that the film creates. The visual language doesn’t simply linger in the midst of its surroundings... the visual language is there to enhance the storytelling and even evolve and advance it several places along the way. The visuals are the voice between the lines or the narrator within the film... though not in a direct way. But it adds several subtle layers of depth and even draws you in with a huge palette of perspectives along the way – serving as visual poetry for both eyes and ears…
The Soundscape
The soundscape elegantly accompanies the cinematography with the auditory counterpart to the visuals... The central piece of music acts as an important intermediary between story and image. In a way, it beautifully binds the two even better with this powerful pendant and the music helps generate a better balance than previously experienced. The focus is on the biblical, with classic choir compositions, which seems to suggest something uplifting, which lies in wait at the end of the road. I seem to notice a certain disconsolate darkness in between turning tones, with a few selected musical séances that even calls for a sense of something dangerous, though it remains lurking underneath a sign of something better in the future.
The main soundtrack also seems to create an atmosphere that calls for a sense of traveling – there is a feeling of something that is constantly being built, developed and brought forward, which fits very well with the character's current situation and the tendancy of the film to act as a partial “road trip”. Like everything else about this film the music demands attention, if you want to catch every detail and fortunately the soundscape complements everything else about ‘Manchester by the Sea' so well, with its subtle sense of great detail.
______________________________________________
SHORT SUMMARY // 'Manchester by the Sea' is courageously confident in itself and what it wants to create. Much of this is due to the wonderful work put in by writer-director, Kenneth Lonergan. The story seems so natural that it is hard to believe that everything is artificially constructed when it all comes down to it. The editing is punctual and often feels almost invisible, despite multiple timelines, and your thoughts flow towards films such as Richard Linklater's 'Boyhood', which also evolved effortlessly over the course of several years. The music also goes hand in hand with both the story and the visuals, which together form a complete circle, where Lonergan has found and created his own little cinematic calling. 'Manchester by the Sea' is a sea of emotions that washes in and above its audience; a film that truly understands its audience on a human level and respects them on an intellectual level as well. This is simply a sublime masterwork of a movie, simple as that.
FINAL RATING //
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— MOVIEMEDITATION PRESENTS —
"MANCHESTER BY THE SEA"
______________________________________________
"Look who came back..."
This little hidden treasure berths beside the harbor of the non-English town called Manchester and is directed by a man named Kenneth Lonergan, who, among other things, has been the captain of a few selected film scripts, such as' Analyze This' and ' Gangs of New York ', all the while he has also directed his own projects and with great success to flow with it.
Lonergan has maintained a relatively high level for all his films up until now, but if 'Manchester by the Sea' can hit the same wave of success as his earlier films, without either succumbing to high expectations or overflowing with ambition in forced frustration, is one pretty good question. The film has proved to be extremely popular during a solid sailing through various film festivals, in which we have witnessed a strong momentum for the movie and great tailwind as well, which have resulted in various victories and a huge array of awards. But with the question watered completely down – is ‘Manchester by the Sea' truthfully this comprehensive cinematic tsunami of torn and frustrated feelings, which is what it is primarily being praised for all over the globe, as well as what gave it the golden globe as well…
______________________________________________
"MANCHESTER BY THE SEA"
______________________________________________
"Look who came back..."
This little hidden treasure berths beside the harbor of the non-English town called Manchester and is directed by a man named Kenneth Lonergan, who, among other things, has been the captain of a few selected film scripts, such as' Analyze This' and ' Gangs of New York ', all the while he has also directed his own projects and with great success to flow with it.
Lonergan has maintained a relatively high level for all his films up until now, but if 'Manchester by the Sea' can hit the same wave of success as his earlier films, without either succumbing to high expectations or overflowing with ambition in forced frustration, is one pretty good question. The film has proved to be extremely popular during a solid sailing through various film festivals, in which we have witnessed a strong momentum for the movie and great tailwind as well, which have resulted in various victories and a huge array of awards. But with the question watered completely down – is ‘Manchester by the Sea' truthfully this comprehensive cinematic tsunami of torn and frustrated feelings, which is what it is primarily being praised for all over the globe, as well as what gave it the golden globe as well…
______________________________________________
The Story
The film follows Lee Chandler; a very lonely and mentally lost janitor, who mostly stays by himself and holds a brutal and almost unbearable past, which has led him to live a very repetitious, routine-filled and reluctantly life. But everything suddenly changes when he gets a call about his brother, Joe Chandler, who has suffered a heart attack, which unfortunately claims his life before Lee manages to reach the town of his childhood and tough past, Manchester. It isn’t easy for Lee, having to confront both the people and the feelings of which he has tried to escape from for all these years. The situation doesn’t exactly change for the better once Lee receives Joe’s Testament; wanting Lee to be the guardian of his brother's teenage son, Patrick - and this despite of the fact that it was never discussed between the two brothers - even if Joe has been sick long enough to plan it properly. But evidently, he has everything planned out carefully, with enough money to cover the expenses for moving to Manchester and settling in. But Lee has a tough time seeing himself go back the town he tried to forget for all these years; tough to look his family in the eyes; tough to change behavior and lifestyle and ultimately very tough seeing himself as a guardian and father figure to his nephew, Patrick.
'Manchester by the Sea' is simply a perfect slice of cinema, served on a silver plate with a strong but steady hand, by someone who truly understands the human mind as much as he does the movie medium. Not even every single summary online – nor the oversimplified overview of the plot above – is in any way worthy of the final film. This movie can’t be properly explained, but must be personally experienced from beginning to end, down in the comfy cinema seats, with the brain in one hand and the heart in the other – no popcorn and soda needed here, because I promise you that the brain is popping enough on its own while the heart is close to the bubbling over the edge, once the film catches the inner and intense emotional heights of which it is capable of. Keneth Lonergan truly knows how to stimulate the mind and set the feelings free, but what exactly is it that makes this film so damn successful on this level?
I think it can be presented as two oceans meeting, right in the middle of a scenic but subtle silence, where emotions speak without strenuous approaches and the visuals are wonderfully moving, without having to manifest themselves in metaphors. Director Kenneth Lonergan has a very sophisticated narrative style, which particularly shows its true strength when numerous flashbacks are woven almost unnoticed into the film. With these interwoven immediate plot points, as well as with the general editing throughout the film, Lonergan really shows us how to create an utterly unique tempo for the film, which is in perfect balance with the story as well. It is punctual, without being pompous and restrained without feeling too retreated. Too often we see flashbacks fumble instead of flowing and usually feeling way too fragmented in the plot of the movie. Sometimes you even lose track – or lose time – along the way. But somehow, ‘Manchester by the Sea' makes it all feel so flawless throughout. I have very rarely seen a film make such a good use of flashbacks as this. Actually, it might be an understatement to call flashbacks, when, at its core, it feels more like timeless moments, woven seamlessly into the contemporary narrative. Furthermore, the film does it ever so flawlessly, that it never quite feels like two or more timelines at the same time. In a way, it kind of works as this wielded companion piece to what precedes right then and now. It is almost like adjectives to an ongoing picture poem; it is explanations and extensions of the story we see and hear, right here and now, and it simply comes off so natural and pleasing to the eyes of the moviegoer.
Due to Kenneth Lonergan’s approach to the story, both in terms of the tactically told plot elements and the independent though oddly inviting aura, which lingers around it, 'Manchester by the Sea' hits completely different notes; looking like a small drop of water but feeling like the aftershock of a minor earthquake – it is something that really resonates through entire the body and soul. The film is very calm and restrained in its pace, yet the plot passes time more elegantly than other slow-moving movies I have seen – constantly evolving naturally, at a consistent level, which never feels completely clear to you until you suddenly find yourself at the end of the journey. I guess it is almost an enigma for me; trying to understand how a film filled with countless flashbacks, fragile characters who can’t speak out properly, narration which is nowhere to be found, and a story which never focuses on just one thing at a time, can evolve so elegantly and set itself up so smoothly without missing a beat?
The concept of ‘movie magic’ is often used in connection to something we have never seen before, but rarely will it be used in conjunction with a film like this, which honestly is a shame. But 'Manchester by the Sea' is movie magic in every sense of the word; make no mistake about this… superheroes, fantasy fables or various versions of invented voyages is nothing but a drop of water in the ocean that is ‘Manchester by the Sea'. But they aren’t in the same boat either, since ‘Manchester’ isn’t about being blown backwards by what you see; it is about sensing an inner storm out of what you experience. The film doesn’t have huge turning points along the way, nor does the plot feel pre-designed or produced within a common narrative context. What Lonergan has created here is neither linear nor traditional, but it is a perfectly competent story anyway.
This movie just feels so genuine and true to me, especially since there is finally a film, which understands how to use humor to support realism and vice versa. It isn’t overly silly nor unbelievable, but it isn’t too timid to be deceptive either – and as is the case with the rest of the film, these two elements are intervened excellently once again! Lonergan manages to create real and not the least realistic situations, where people are frustrated, in sorrow, feel miserable, appear frightened – or by human nature – become unable to repress their oppressive emotions about what is happening right then and now. But as I said earlier, there is no clenchy clichés to uncover anywhere... everything is put forward in a straight and honest manner, but with an underlying layer of humor that managed to truly maintain a much-needed balance in an otherwise extremely tragic tale.
'Manchester by the Sea' is like a collection of characters being stranded at sea; each at their own little individual island; each having tried to overcome the waves of the wild ocean; each having partly or completely giving up on themselves and thereby swimming back to their own empty island; each living alone because there isn’t any room for more people on their island, without one of them going under; each living in shame or regret of being on this island, but not wanting to deal with it or help others, even if they are in the same situation, because they have their own problems. But when the tide lowers, they are suddenly forced to walk through the strong stream and try to reach comfort, before the tide comes back and hits them when they are at their weakest point. ‘Manchester by the Sea’ has this feeling of fragile human beings walking around amidst each other, in the wide-open world of very small town, and as an audience we get to see the result of this, for better and for worse.
The Acting
It must be said: Casey Affleck delivers the performance that Ben could only hope to give. Ben Affleck is a bulky, slightly clumsy, though admittedly charming character, who has a face and a voice that have suffered in the same bearings as Ryan Gosling; good looking and quite charming, yes perhaps, but otherwise incredibly flat and monotonous acting skills unless typecast in the right role. Casey Affleck, in the role of Lee Chandler, delivers one of the best performances in recent memory – and it is completely without ever screaming in pain, screaming in grief, screaming in anger or scream in delight. Personally, I scream of pure joy over that fact.
When the distinguished golden trophies are distributed for the year’s most admirable performances, at the annual awards shows all over the globe, the price-pickers often select someone who really strives in physical or mental ways, up on the big screen. Leonardo DiCaprio finally got his Oscar last year, even though he should have gotten it much earlier. His role in 'The Revenant' is in many ways very good, but it is as ambitious as it is strenuous. A short summary of the plot could probably just as well have been as follows, "In the role of Hugh Glass, we will witness Leonardo DiCaprio crawl, cry, slobber and goggle through his prolonged and painful journey to get the golden man of the hour, called Oscar." DiCaprio is a great actor and it is a pity that he doesn’t win for some of his more intellectually challenging roles.
Although the film is indeed called 'Manchester by the Sea', I apologize anyway for getting a little off course here, but I promise you that there is a point to it all. Because Casey Affleck delivers the complete opposite in the role of Lee Chandler. His performance is driven by intense inner turmoil and emotional torture, which don’t appear very often in the shape of physical exertion, but more so with a simple glance or a sudden pause within a sentence or in his general tone of voice. I sincerely hope that the Oscar Academy awards him with a statuette for this all-time achievement. As mentioned earlier; all too often you will see actors who win because they endeavor a lot, exteriorly; either exposed as tears of anger or angst – to such a great degree –that the audience almost acts entirely out of a state of shock and awe; agreeing that this performance must be amazing because of how perplexed they become just by watching it. Admittedly though, this case can often be correct as well, while other times it just tends to come off as either preposterous, overplayed or just all in all a tad too much.
It is so wonderful to witness a role like the one Casey plays, where he says so much with so little and where the role is believable in the bareboned characteristics of the character – at any given point in the movie – and not due to any movie highlights filled with tears or rage. You know that one overly expressive scene, which the Academy always uses every time they announce the nominees for best performance? Well, Casey doesn’t have that scene, and that is exactly why his performance is so great. His performance is consistent, complete and complex, despite how natural and subdued it feels – yet one can easily spot his inner turmoil, tortured past, fragile frustrations and so on. For example, try awarding extra attention to his eyes when he enters the morgue of the hospital, in a particular scene in the movie… It is these moments that impress me most – moments that are true to being just that – a moment, which will disappear as soon as you blink, yet will remains on the retina for an extended period in time.
The acting is also extremely solid all-around. The rest of the cast has the same restrained and low-key approach, which shows that the director knew exactly what he wanted from his actors. Michelle Williams is a good counterpart to Casey Affleck, although I would argue that her presence is too short-lived to judge probably, thereby having a ‘best actress’ nomination feeling a little hard to support in my honest opinion. She is indeed very good, but I don’t view her as having one of those standout spare-minute performances of all time. Kyle Chandler is the perfect and charismatic brotherly bear of man, who is charming and good-natured to such a degree, that the fact that he has an incurable disease hits you even harder. He doesn’t spend much time on screen, but his role feels tentatively timeless when he is... C.J. Wilson is also worth mentioning, acting as another character with so much heart and significance stored in one single person. Lonergan has honestly chosen the perfect actors to play in the role of "human being" just right – and that is fundamentally crucial in a movie like this.
The Technical Aspect
Both the direction, the script and the seamless editing makes it a desired dream for any actor or actress to present their character perfectly, while getting the best out of each individual moment, and this is furthermore the case for the film as an experience and thereby empathy of its audience. As mentioned earlier, it is especially the elegant storytelling-style using flashbacks, which is being put forward so flawlessly throughout. It is rare to see flashbacks appear so thoroughly and thoughtfully as they do here. Lonergan really understands how to set up scenes and simply let them speak for themselves; often in complete silence. There aren’t a lot of intense close-ups throughout, but when they are there, they are in fact used more faintly, while the more aggressive or intense scenes holds the camera at a deliberate distance. Additionally, there is even another scene worth mentioning, where Lee sits in a chair and listens to Joe’s final will being read out to him. Notice the carefully crafted cross-cutting of the scene, which makes use of a single flashback, but presents it in several individual pieces. Incredible that something so simple can be so effective and feel so complex all at the same time.
Generally speaking, ‘Manchester by the Sea' plays out tremendously natural and truthful in what Lonergan is aiming for with this film; which means that the image isn’t visually abused with strong color contrasts or fancy, free-hand camera work throughout. Lonergan doesn’t wish to impress by using methods having the same effect as splashing a bucket of cold water straight into the face of his audience; that is too easy, too eccentric and not the least out of character for the film. Because even so, both the setup and editing of each individual image appear almost perfect in their every execution. The visual language is extremely pervasive - not notably on an individual level - but as part of the entire narrative. Therefore, ‘Manchester by the Sea' isn’t the kind of film you should pause, print and pin to the wall as a framed photograph just because the cinematographer paints every picture with potent and flamboyant brushstrokes. It isn’t all about the words, but the visual phrases that the film creates. The visual language doesn’t simply linger in the midst of its surroundings... the visual language is there to enhance the storytelling and even evolve and advance it several places along the way. The visuals are the voice between the lines or the narrator within the film... though not in a direct way. But it adds several subtle layers of depth and even draws you in with a huge palette of perspectives along the way – serving as visual poetry for both eyes and ears…
The Soundscape
The soundscape elegantly accompanies the cinematography with the auditory counterpart to the visuals... The central piece of music acts as an important intermediary between story and image. In a way, it beautifully binds the two even better with this powerful pendant and the music helps generate a better balance than previously experienced. The focus is on the biblical, with classic choir compositions, which seems to suggest something uplifting, which lies in wait at the end of the road. I seem to notice a certain disconsolate darkness in between turning tones, with a few selected musical séances that even calls for a sense of something dangerous, though it remains lurking underneath a sign of something better in the future.
The main soundtrack also seems to create an atmosphere that calls for a sense of traveling – there is a feeling of something that is constantly being built, developed and brought forward, which fits very well with the character's current situation and the tendancy of the film to act as a partial “road trip”. Like everything else about this film the music demands attention, if you want to catch every detail and fortunately the soundscape complements everything else about ‘Manchester by the Sea' so well, with its subtle sense of great detail.
______________________________________________
SHORT SUMMARY // 'Manchester by the Sea' is courageously confident in itself and what it wants to create. Much of this is due to the wonderful work put in by writer-director, Kenneth Lonergan. The story seems so natural that it is hard to believe that everything is artificially constructed when it all comes down to it. The editing is punctual and often feels almost invisible, despite multiple timelines, and your thoughts flow towards films such as Richard Linklater's 'Boyhood', which also evolved effortlessly over the course of several years. The music also goes hand in hand with both the story and the visuals, which together form a complete circle, where Lonergan has found and created his own little cinematic calling. 'Manchester by the Sea' is a sea of emotions that washes in and above its audience; a film that truly understands its audience on a human level and respects them on an intellectual level as well. This is simply a sublime masterwork of a movie, simple as that.
FINAL RATING //
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