Review by © Jane Freebury
It is no small irony that the main character in Manchester
by the Sea is a dependable handyman who can fix anything and everything. The
problems that daily life present him with, like blocked drains and snowbound
porches, are relatively simple and straightforward, requiring a bit of brawn
and stoicism.
It’s when it comes to dealing face-to-face with clients that
Lee (Casey Affleck) has difficulties. A blocked cistern or a leaky tap may be
nothing compared with a testy female client looking for offence, or another one
trying to flirt with him. Clients can be rude and demanding, or charming and
welcoming but whatever they do, they get the same stony response. Over a series
of interactions, we see that Lee has a bit of a problem. It comes into sharp
focus when he throws a punch at strangers at a bar, for little apparent reason,
a chilling reminder of the one-punch phenomenon that has emerged in recent
years.
Life suddenly becomes complicated for Lee when his older
brother dies prematurely. Joe (Kyle Chandler) succumbs to heart failure, leaving
behind his teenage son, his only child, in Lee’s care. Sixteen-year-old Patrick
(Lucas Hedges) is a bolshy pain in the neck, if ever there was one, who believes
he has all rights and no responsibilities. It’s hard to feel much sympathy for Patrick.
Is he obnoxious because he can’t grieve properly for his dad? Maybe. Either
way, it turns out that both he and Lee have trouble managing their emotions in
dealing with pain and loss.
I’ve read that the idea for this film was taken to Kenneth
Lonergan, the screenwriter and director, by some high-profile friends of his in
the business, including Matt Damon, with the request that he work on it and
make it his own. Giving an emotionally traumatized young man the guardianship
of a nephew who needs him is a great idea. When Patrick comes to understand
that he can’t be close again with the mother (Gretchen Mol) who left the family
years before, he sees that his Uncle Lee is all he has. Lee is it.
As the circumstances behind Lee’s withdrawal from the world
are revealed, it is heart rending. He is broken and he can’t fix himself. Every
now and then you hear about a trauma like this, and you wonder how the
survivors could ever get over it. When Lee meets his former wife Randi
(Michelle Williams) again, she has begun to rebuild. His own predicament is
etched in stone.
Around ten years have passed since the family tragedy, and
Lee still cannot move on. Will he heal eventually, the film asks? Lonergan, who
has said he wanted to explore the limits to healing, hasn’t put a creative foot
wrong.
Manchester by the Sea
is a fine film that has been garlanded with awards and critical acclaim. As it
didn’t speak to me as strongly as I expected it to, I’ve come to think that I
needed to hear more from Lee, some of the inarticulate speech of his troubled
heart. Even though the obvious point is that he cannot express or reach out,
more of his inner life would have served the film well, with less of the reactive
violence and more of Lee the person from screenwriter Lonergan. The filmmaker
has the language—he is the son of psychiatrists—and co-wrote Analyze This, incidentally, the
hilarious comedy with Robert de Niro and Billy Crystal as the mafioso and his psychiatrist.
Lonergan had wonderful actors in Affleck and Williams. It would have worked.
The Massachusetts fishing village that serves as the
landscape of a young man’s inner life, seems to be in a state of permafrost. I
wonder how the community of Manchester by the Sea feels about this bleak tale
of grief and loss that has brought it to everyone’s attention. It’s too bad
that we never get to see the place in summer, but that would not have been true
to the emotional arc of Lee’s journey.
4 Stars
Also published at Jane's blog