Now in theaters
Director: Todd Haynes
Starring: Oakes Fegley, Julianne Moore, Michelle Williams, Millicent Simmonds
Todd Haynes’ latest film is daunting to review, because a simple description makes Wonderstruck seem self-indulgent, like it’d be a real slog to get through. See for yourself:
In 1977, Ben (Fegley), a boy of 12 or so, is living with extended family because his mother (Williams) died in a car accident before she ever acquiesced to Ben’s requests for information about his long-absent father. To make matters worse, Ben is struck by lightning, rendering him deaf. Despite this, the kid’s got gumption, so he sets off to find his dad with a love note on a bookmark from a NYC bookstore as his only lead.
In 1927 (shown in black-and-white silent movie style), Rose (Simmonds), a girl of 12 or so, is living with her father while her mother (Moore) ignores her in search of stardom on the stage and screen. Rose is also deaf, but she sets off anyway to find mom with a newspaper clipping about an upcoming show in NYC as her only lead.
See what I mean? It seems rife with potential to irritate viewers. The parallel between the two stories could be a little on the nose. The silent gimmick of the 1927 story could be a little hokey. There’s stop motion animation near the climax. And relying on child actors is scary.
Somehow, it all works. The two storylines are juxtaposed with great editing, and echoes of one are constantly felt in the other. Simmonds, who is deaf in real life, gives an impressive performance considering the storytelling choice. Her performance is an ode to the silent film style, and remarkably, it’s her film debut.
Wonderstruck has a secret weapon that makes the whole movie flow beautifully, and it’s Carter Burwell’s score. If there was a singular highlight for me, it was the music, which playfully mimics what you see on screen from time to time. It really helps the whimsical tone Wonderstruck is shooting for.
Wonderstruck isn’t going to be for everyone. It reminded me of Hugo, which un-coincidentally was based on novel by Brian Selznick – just like Wonderstruck. It’s sugary, whimsical, and has an ending that strains to clutch your heartstrings. The sudden introduction of animation into the film, well into the climax, is a bizarre choice. This film seems bound to be reviled or beloved, and I doubt there will be a lot of middle ground. I, for one, am in the latter camp.
Is it Watchlist-worthy? Yes.