'The best film about the wages of aging since 'Amour' eight years ago, 'The Father' takes a bracingly insightful, subtle and nuanced look at encroaching dementia' Sundance
takes a bracingly insightful, subtle and nuanced look at encroaching dementia and the toll it takes on those in close proximity to the afflicted. Fronted by a stupendous performance from Anthony Hopkins as a proud Englishman in denial of his condition, this penetrating work marks an outstanding directorial debut by the play’s French author Florian Zeller and looks to be a significant title for Sony Classics domestically later in the year.
However, even as Zeller has remained faithful to himself in switching media, he has embellished his work with some keen visual elements that expand upon what was possible onstage and prove both disquieting and meaningful in conveying the experience of dementia. The film thereby deserves to be analyzed as a freshly conceived work in its own right, not just a transfer from one medium to another.
What’s clear is that Anthony can’t be left on his own. Still sharp in some ways, he nonetheless forgets things and people, although he won’t admit it. Sometimes he speaks softly and coherently enough to make you believe he still knows what’s going on; at other times he’s disoriented or possibly playing little games to make it look like he’s more in control than he really is. He is, in a phrase, in and out.
In company and for short periods, Anthony can be spry and lucid to the point that newcomers might be convinced that he’s not so badly off. But any prolonged exposure to him removes any question of his capacity to be left to his own devices.
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