The Emersons are modest people. Running a farm, along with raising children to be decent, God-fearing and hard-working, is an all-day, all-week business; there isn’t much time for pretension. Even …
) was a shy teenager who avoided parties and never got married, a story thread that is picked up and courteously dropped again within a minute. It wasn’t hard to keep him down on the farm. He’s in his element there. All he wants is the best thing for Donnie.
And then there is their homegrown genius Donnie-be-good, played to the hilt by Affleck. The camera swirls about him or follows him, hand-held, across the fields in the golden Pacific Northwest light; his face is explored as if it were a mountain range. Noah Jupe plays Donnie as a teenager. Sometimes they appear in the frame together: The kid looks at Donnie, you might say. Neither seems sure what to make of the other, which is presumably the point.
Affleck brings a load of baggage with him to any role these days, which effectively adds weight to Donnie’s evident melancholy. In a film so singularly lacking in dramatic conflict, Affleck’s sad face has to do a lot of work. Donnie may well be churning with inner turmoil as he tries to rehearse his teenage songs with his brother or be a good husband to Nancy , who is just as sweetly supportive as her in-laws, but he mostly keeps it to himself.
Pohlad doesn’t pursue his story to the far side of the mountain. “Dreamin’ Wild” had its flare of fame. We can deduce what happened next from a scene in which the real Emerson brothers – along with Nancy, shown to be Donnie’s real musical soulmate – play their country rock to a home crowd of hard-working farmers in a local bar. There is a neon sign outside that bar, a beacon of country hospitality. The surrounding mountains rise majestically behind it.
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