|
|
||||||||||||||
 |
||||||||||||||
Strangely enough, this modestly produced film is one of the most original recent films. Most comedies fit into some other genre (Romantic, "Dumb," etc.) but this one doesn't. The closest it gets is romantic comedy, but that doesn't even fit. Also, the writer of the book, Nick Hornby, helped with the movie, which has had some great changes, namely a much better ending than in the book. Hugh Grant is at his best here, as a very cynical bachelor of about thirty named Will who doesn't have the pressure of work upon him, thus devoting all his time to women. He kind of reminds me of a high school student. Being the "Love them and leave them" type, he has had his share of breakups. Then he dates a single mum. Just as he's about to break up with her, she breaks up with him! As Will puts it, "Guilt free parting." Thus, Will is on an endless search for single mums. Through this search he meets Marcus, a schoolboy has trouble being a boy, played by Nicholas Hoult. "About a Boy" says quite a lot, if you manage to catch it, and is one of the funnier non-"Dumb" comedies out there, (curiously enough, directed by the brothers who gave you "American Pie.") and it's overall quite enjoyable to watch. Grant and Hoult are hilarious together, with their extreme character contrasts. A thousand word review can hardly do it justice. If there is a one thing I always intend to laugh at British comedies, it is always the self-referential cynicism, which is, naturally, far from the self-referring incidents seen in American comedies; this is shameless in an intellectual way, making the psychological and intellectual embarrassments work as driving factors instead of physical slander that drives most of the American comedies. As comedy, it varies, yet British comedy has always been more accessible for me, and though there are always the same old issues involved, only wrapped up in a new concept, the spirit of British cinema always delights; it is like a warm meal or a Christmas present. Bad simile. Some of Nick Hornby's novels work as films, some of them don't. While High Fidelity might fall in the latter category (I'm not yet through with that), I wouldn't say that this film would work completely, smoothly deriving itself from other mass of productive humour. There are moments of simple horror in terms of comedy, yet the good things balance the bad as if it would be true; in this case, it is hard to find out ultimatums for a story that lives on its own as if it would live on its own: a relationship between a man and boy is the central piece yet there are layers in the film and plot that are beautifully executed: the mentally depressed mother, the skein of lies and ultimately the growth of mental state in both heroic and sentimental universes of the characters, intertwining quite smoothly, and notice that this is where friction starts to heat up, and as tight the package might be, it has no outer dimensions, no parallels in terms of referential capacity, which, in this case, resembles of Grant's inability to act out something else than his typical stereotype. And even though that might be a minus, it is Grant who willingly does so, and if you read between the lines, you can see how he too is laughing at himself; his limits have become a factor that can defend instead of defeat, and that's why, even though his performance may not be upper-class, it is hard to get tired of him. And yes, it speaks. Quietly. Brothers Chris and Paul Weitz move towards an ordinary view of popular cinema, a format of comedy that still defeats its inaccuracy in presenting ordinary life, as there are no real basics in presenting such a thing: in many ways this is reminiscent of High Fidelity, and what makes them look good together is the voice that well from between them, as they are different yet examine the same issue, that being not people's attitudes towards others (perhaps High Fidelity examines this theme more vibrantly and intentionally) but their attitude towards themselves, as it is self-approval that teaches them that no man is an island. "About a Boy" may seem lightweight, yet notice how it holds the attention straight through to its consonant conclusion.
Visitors: 553
|
