"Manchester by the Sea" Review

Title: Manchester by the Sea

Directed by: Kenneth Lonergan

Written by: Kenneth Lonergan

Year: 2016


Kenneth Lonergan has been an underground director; an artist that has yet to truly break out. His previous films have been met with mostly positive reviews, but he seems to have made quite a splash in the cinematic waters with his newest feature. Is Manchester by the Sea worth seeing, or should you let this one wash away?

Following his brother's death, Lee must go back to Manchester to settle his affairs. There, Lee finds out that his brother appointed him as the guardian of his child, Patrick, which does not sit well with Lee. He tries to find a way to organize the funeral while also figuring out what to do with Patrick.

Casey Affleck is the driving force of this film, and he is nothing short of spectacular. Affleck delivers an incredibly subdued and understated performance. He applies a frail, unsure voice to the character of Lee and this amplifies the personality profusely. Lee is haunted by a traumatic event in his past and the film takes its time revealing what it is. Once shown, you completely understand why Lee acts the way he does. Affleck maintains a fittingly awkward and detached demeanor throughout the film, save for one scene where he is allowed to express what is really going on underneath the surface. His performance is powerful in its subtlety.

Not to be overlooked is Lucas Hedges who portrays Patrick. Like Lee, Patrick is quite reserved but can blow up given the right circumstances. Hedges is terrific as a teenager who is dealing with the death of his father and his seemingly neutral uncle. The character is very well written and Hedges slips into the role with ease. Michelle Williams plays Randi, Lee's ex-wife. Williams is impressively tragic, presenting both a hardened wife and an emotional wreck. She is not featured heavily, but her scene with Lee on the street is unfathomably compelling.

Story is not a prominent feature in Manchester by the Sea. Instead, it is more of a character study of Lee and Patrick, more so the former. In this regard, the film is successful as it places both of these characters under a microscope, illustrating to the audience what makes them tick. This movie could have easily been a slog to sit through. But thanks to its fascinating characters and rich themes, Manchester by the Sea prevails. The character of Lee Chandler is complex yet understandable. The film's intrigue comes from slowly peeling away the layers that make up this man, keeping the viewer engaged.

Flashbacks are implemented in an strange manner in that they are not introduced. Contemporary scenes are cut together with flashbacks without any sort of indication as to the time-shift. As a result, some scenes do not seem to make much sense until about a minute later when it is revealed that what we are watching has already happened. Though a bit jarring at first, this technique is effective in developing the plot and characters.

But perhaps the oddest aspect of this movie comes with the musical choices. There are plenty of operatic selections that underscore key moments in the film. I think this was done to emphasize the tragic nature of this picture. Many operas are defined by misfortunate stories, which is why I feel this was the purpose for such saddening and prolific music being included in this movie.

The cinematography in Manchester by the Sea is quite beautiful. Despite all the sadness and dreary themes that permeate the picture, the film retains a very bright composure. It is quite amazing how the majority of the movie takes place during the day, with night scenes being few and far between. The shots look crisp and very intentional. The bright atmosphere does well to contrast the happenings of the film.

Lonergan's direction is obviously atypical of the Hollywood style. As a whole, Manchester by the Sea resembles a foreign film, particularly one of the French New Wave. The uneventful story that focuses more on its characters during the small moments is the biggest giveaway. The scene transitions and shot constructions are also very reminiscent of this style. The lack of over-the-top or overly dramatic acting is very much in-line with classic European filmmaking. This approach is very hit-and-miss with me, but I found it awfully effective in this movie Lonergan has a sophisticated vision that he translates to the screen wonderfully.

The entire journey of Manchester by the Sea can be summed up in one scene where Lee is walking with Patrick and picks up a ball. He proceeds to bounce it as they walk, never failing to catch it. But once he starts throwing it around with Patrick, things change. When he misses the ball, he continues walking, allowing it to roll down the hill. Patrick insists on getting it, but Lee tells him to leave it. This signifies Lee's state of being. As long as he has control of the situation, he will continue to interact. But once he loses that control, he gives up and moves on without caring. Manchester by the Sea is a deeply moving and powerful motion picture, backed with stellar performances from the entire cast (Affleck especially). It is not the most exciting or thrilling film you will see, but it has the potential to rock you to your core. The "foreign approach" might not appeal to everyone, but I think it was incorporated appropriately. Manchester by the Sea is certainly worth its praise and deserves to be seen.

Grade: A