Manchester by the Sea

Dir: Kenneth Lonergan

2016

*****

Kenneth Lonergan’s Manchester by the Sea was one of 2016’s must see movies. It received much hype when premiered at the Sundance Film Festival and was expected to clean up at all the major film award ceremonies. While it didn’t win all the awards it was nominated for, it did win for two-thirds of the big ones (Oscars) it deserved; Best screenplay and Best actor for Casey Affleck. Michelle Williams should have won the Academy award for Best supporting actress. I would argue that Manchester by the Sea isn’t a complex film, it is in fact rather simple, what really makes it special is that it is one of a kind in contemporary cinema in that it leaves itself unresolved. I’m far from being a fan of Lonergan’s, while I liked his debut You Can Count On Me, I absolutely loathed his follow up Margaret – although I believe I’m in the minority on that one. I don’t think Lonergan has actually shown us anything new here and I don’t think there is anything remarkable about his direction. I think the performances are outstanding and the idea is brilliantly realised but I think the best elements of the film are down to the actors and a little bit of luck. When Casey Affleck’s character Lee is explored historically and his tragic secret revealed, we are bombarded with some beautifully imagery that takes the film to a higher level. However, when Adagio in G minor plays over these images, a big chunk of the emotion I felt turned to contempt, as this has to be the most overused and manipulative piece of music in the history of cinema. It was a big one step forward, three steps back moment for me, with Margaret still very fresh in my mind. This was one of the intended big moments, and it was, but it was almost totally eclipsed by a two-minute scene between Affleck and William’s characters that feature very little dialogue but heaps of raw emotion. That scene alone makes Manchester by the Sea something of a masterpiece. The film is based on an idea that actors John Krasinski and Matt Damon had back in 2011. They had a rough idea of a Handyman with emotional issues and took it to Lonergan for development with the intention of Krasinski staring and Damon making his directional debut. After the problems Lonergan had with the release of Margaret, Damon felt for him and offered the directional duties to him, and he would be the film’s star. After rescheduling and rewrites, Damon produced and Lonergan directed with Damon stating that he would only let long-time friend Casey Affleck star instead of him and no one else. I think things definitely turned out for the best, maybe Lonergan was best suited for the film due to his defiance and nonconformist approach to film, I don’t know but I can think of other directors I think could have made an equally good if not better film, but all that aside, it is fantastic to see such an un-Hollywood film gain so much success. The inconclusive ending might put many people off and it may even anger them but I thought it was a masterstroke. Grief and tragedy isn’t always something that has conclusion, it’s just something you have to live with and control. This way of thinking is brilliantly represented, thanks to the immaculate screenplay and the captivating performances. It is always convincing and utterly believable. The relationships and chemistry between actors is sensational in the subtlest way possible, where most films would see an over-pouring of emotion, Manchester by the Sea sees it bubble but never surface, a contained scream that is louder than any that can be vocalized. Simple, unrushed, honest and with blemishes, a refreshingly honest portrayal of grief from those not used to displaying their emotions – which represents a large section of society that hasn’t been represented this honestly as authentically before. I don’t think Lonergan is a great director but here it is the imperfections that adds to the brilliance that make it something special indeed.