Boyhood

One genre of film that has always had a chance to hold a sacred place in my heart and soul is the ‘coming of age’ stories.  Goonies, The Sandlot, and Stand By Me are just a few of the golden oldies from my upbringing.  It is always interesting when a new spin or attempt is tried, and one of the most inventive modern films on this theme has been Attack The Block, which was a combination science fiction, comedy, and horror story about a boy needing to step up into becoming a man.  It is a wonderfully creative look at the format and has an outstanding performance from John Boyega.

Normally the maturation of the protagonist takes place around an event or adventure, something which pushes their capacities and forces upon them the speedy advancement of their development to get through.  It fits well with the cinematic presentation, allowing the story to culminate towards their growth being linked to the climax.  While it is an affectionate portrayal of what youth deal with, it is not honest to the reality that many face.

In the case of Boyhood, director Richard Linklater sets out a most ambitious approach to capture the evolution of life that a person goes through during their upbringing, as situations and influences around them inform their development and sculpt who they will become.  The narrative follows twelve years of Mason’s (Ellar Coltrane) life, from six to eighteen.  While that idea in of itself may not sound too spectacular or ground breaking, the fact that the film was shot with the same cast over eleven years to properly construct Mason’s advancement is ambition unchecked.  It is a courageous attempt that the rational mind would believe as folly.  The creative mind, however, is different, and from this a historical piece of cinematic art is born.

For those readers who really enjoy seeing a movie that encapsulates a story, pushes towards a climax, and offers near complete resolution at the end, this is not that sort of film.  However, before you hear those words and think it is not a film to see, please continue reading as I attempt to win you over to giving this film a chance.  What the movie does is show a true and organic nature to the voyage from childhood to adolescence, as Mason develops into a young man.

Never before have I seen such an authentic movie that shows life for what it is; a series of ups and downs with the emotions and lingering events that create a character.  We are given snap shots of life with Mason, his mother (Patricia Arquette), and his sister Samantha (Lorelei Linklater) as they face existence together.  The dynamics of the family are not typical Hollywood, which seeks accentuate characteristics to fit within movie format, but more so resonate with the experiences of the audience through touching their own trials or the ones that friends had been through.

Mason and Samantha’s biological father (Ethan Hawke) maintains a close relationship with his children, acting as a mentor in scenes that are heartwarming and touching.  The chemistry between Hawke and his children is undeniable, and a true paternal bond oozes from the moments they are together.  Perhaps this is the strength of having to work together over a number of years, which allows for a natural bonding to present itself that is true to the passage of time that the movie depicts.  Patricia Arquette, who is the constant source of care and influence captures the everyday dynamic of a mother seeking her own life while passionately driven for the sake of her children.

The engaging snippets of Mason that we get are enhanced by the natural aging of the characters.  To see Ethan Hawke’s first appearance was the true realization of the strength of the movie.  We are used to seeing actors in their present state or covered with make up to make them look younger, and it took a bit of effort to really comprehend that this was Ethan Hawke in the time period depicted.  The natural life of the film becomes one of the purest forms of art as the days and years pass not only in the story, but in the faces of the actors and the physical environment around them.

 The narrative never feels composed, but an experience of life itself.  Linklater’s use of dialogue and extended shots weave the fabric of sincerity, resembling moments of Before Midnight as it uses scenes of passing time and setting suns.  The smallest of details heightened the true to life essence, such as a scene near the beginning of the film where Patricia Arquette is driving and a fly lands on her arm.  I really sense that most films would do a retake to eliminate the visually distracting bug, but here it is left in, something I interpret as a signal that no facades will be allowed to make entrance.

My words are insufficient to give the needed credit that Boyhood deserves.  Two thousand words could be used for analysis of this work and still not properly communicate all there is that could be said of Boyhood.  How can you properly communicate a profound experience that you have at the feet of a monumental achievement in art?  Is it possible to get a rein on all of your thoughts after being treated to the most magical theatre experience of one’s life?  I don’t think that it is something that I can achieve, but luckily the film exists so that you can witness it for yourself and need not rely on my inability to adequately pass on the passion represented by Boyhood.

Rating - 4 out of 4 stars