The Father

The Father
Starring Anthony Hopkins, Olivia Colman, Rufus Sewell, Imogen Poots
Directed by Florian Zeller

Sometimes it's the smallest films that make the biggest impact, and "The Father" is one such film. Centering on the issue of dementia and how it affects not only the person afflicted with it, but with the loving caretakers as well, the film delivers a powerful punch that keeps you on your toes, and interestingly immerses yourself in the disease as well, where not even the viewer understands what is real, what isn't, and what's in the middle.

Anthony (Anthony Hopkins) is an 80-year-old Londoner living in his flat and seemingly is enjoying his elder years, until his daughter Anne (Olivia Colman) comes to visit to tell him that she's moving to Paris to be with her new boyfriend, which sends Anthony into an angry tirade followed with an emotional plea to not leave, and we then understand that Anthony is living with dementia, and Anne is taking care of him. Anthony doesn't understand what is real and what isn't, as people keep coming in and out of his flat that he doesn't know, and Anne struggles with maintaining her own mental sanity as her father keeps sliding further and further into dementia, lashing out at her and those around him.

The issue of dementia is no easy one to tackle, especially in film, as it's easy to fall into the trap of overgeneralizing the issue, or even more dangerously making it a mere emotional turning point for the characters. "The Father" manages to rise above this by including the audience in the story, allowing us to see the world through the eyes of Anthony, as he suffers from dementia and doesn't understand most of the time what is happening around him - and neither do we. This is a fantastic undertaking done by the incredible work of director Florian Zeller (who wrote the script as a stage play) and especially the editing work of Yorgos Lamprinos, who performs a brilliant feat of magic in effortlessly moving from moment to moment in shocking ways that are so subliminal and minute that you don't notice it until everything changes again. It's unique in that you're kept on your toes throughout, straining to understand what's actually happening as characters change actors, set pieces disappear, and seemingly events happen over and over again and what seems like days happen in only a single day. Yet all this cinematic magic can only work with a dedicated cast, and thankfully Zeller got two of the best.

Anthony Hopkins has been a mainstay in cinema for decades, and it would easy to think that he would've performed effortlessly here, breezing through another Academy Award-nominated performance with ease and simplicity, but he absolutely turns in a tour-de-force performance, and one that rivals his previous Oscar-winning performance as the iconic Hannibal Lecter in "The Silence of the Lambs." That's saying much for a man who's performance resume is so vast and talented as Hopkins', but it's true. Going into this film I expected a simple story about a man struggling with dementia and how it affects those around him, and while this is what the movie is about - it turns out to be anything but that as well. Hopkins serves as the ultimate unreliable narrator, as at first it seems that his story would be a typical one, but once the character of Anne switches out between actresses, and Anthony doesn't know who she is, the audience as well is thrown for a loop along with Hopkins, and immediately we're drawn into the story in a deeper, more personal, more profound way. If this was any other year that didn't feature the indelible Chadwick Boseman, Hopkins would've easily won his next Oscar for this defining role.

Likewise, Olivia Colman deserves all the praise and accolades she's been receiving as the longsuffering daughter, Anne, who feels she has to take care of her dementia-ridden father. This is no easy task, as Anthony constantly berates her, almost reducing her to tears despite trying to maintain a stiff upper lip, and there's more emotion in her unflinching gaze than other people do in lengthy monologues. You really feel for Anne and the tightrope act she has to traverse to take care of Anthony, and you sense the deep love she still has for him despite the major struggle she faces. Yet she does this without receiving fake emotions, and you feel every ounce of her performance as something utterly real and increasingly deep.

Films based off plays often don't translate as well to the big screen due to its setting, as most films cover a wide array of set pieces that keeps the interest of the viewer intact, but once again "The Father" exceeds expectations and uses its setting to its full advantage. The film takes place almost entirely in Anne's flat, and this place itself seems to be a labyrinthal maze that Anthony traverses with caution, and the viewer half expects danger at every turn, as is also what Anthony probably feels as well. It also adds a claustrophobic feel, as the hallways are narrow and tight, and the camera often focuses intently on the few characters who grace the screen at any given moment. Much like Anthony, we too sense things are amiss when he enters a room to see a full-length painting, then go back into that same room seemingly mere minutes later to find that painting gone, leaving you - and Anthony - wondering where that painting went, or if it was even really there in the first place. The setting serves as the film's unspeaking third character, and adds even more to the emotional depth that the story tells.

With stellar performances by Anthony Hopkins and Olivia Colman, "The Father" elevates itself above other traditional films tackling dementia and crafts something wholly new, original, and deeply profound for the viewer.

The Score: A+