by Christopher James
The suave former Mr. Darcy would make the perfect husband for a cocktail-swirling Tucci. On paper, any movie starring these two men as lovers would be a real winner. Even though they are both straight, they've eached proven that they can realistically and empathetically play gay without leaning on stereotypes. Plus, Stanley Tucci's cookbooks (and the accompanying photo shoot) have done more for the gay community than any other straight moviestar ally. Yet, Supernova is a far cry from any delightful rom-com or charming late-in-life love story. Writer/director Harry Macqueen’s film is a much more serious and somber affair.
While both Tucci and Firth are in fine form, Supernova is more of a slog than an engrossing drama...
When we first meet Sam (Firth) and Tusker (Tucci), they are bickering in a large RV traveling through the English countryside. Their travels are to culminate in Sam’s long-awaited return to the piano at a sold out concert hall performance. Before that, they have plans to spend some time at their favorite sites and stop by to see friends and family. Cue an ominous episode at a local diner. We learn quickly that there’s a much sadder explanation for their travels. Tusker, a novelist and astronomer, has early onset dementia.
Both Colin Firth and Stanley Tucci give the performances their all. Tucci brings some interesting shading to Tusker. During a large family gathering at Sam’s childhood home, Tusker overplays his gregarious showmanship. Knowing this may be the last time he spends time with these people as fully himself, he makes a point to speak to everyone and have these little moments of acknowledgment that are really special. He doesn’t want his goodbye trip to be doom and gloom, even as he knows this is the subtext. Tucci knows how to mask Tusker’s fears with a smile. Meanwhile, Firth’s Sam sees through the smile and straight through to the terror.
This movie appears to have everything: Colin Firth, Stanley Tucci, lots of wool jackets, the backdrop of the English countryside.With the whole film being essentially a two-hander, chemistry is key. Macqueen’s screenplay does a lot of the heavy lifting in establishing the backstory for these two men’s relationship. Firth and Tucci are most effective when they are just naturally going through the day-to-day conversation between two spouses. The bickering over directions or exasperated logistical conversations are filled with great texture that speaks to a wearied relationship. The two actors make this their character’s love language which is charming. Their chemistry is best in these moments. As the concert approaches and Tusker struggles more and more, the script relies on more overwrought beats. Firth and Tucci relish their big monologues and dramatic moments. In the process of doing that, they lose sight of their characters and instead start ACTING in all caps.
Herein lies the issue with Supernova. As emotional as the movie can be, is there anything new that it has to say? It is emotional and affecting to watch Tusker suffer and to Sam try and remain strong. However, we’ve seen that movie before. The only thing “new” about the film seems to be that it’s a gay weepie, rather than a weepie where there’s a dying wife and man who learns to be strong, yet emotional. As stated above, it never actually mines that for any new insight. It stops at “they’re gay, that’s different and new, right?” Everyone seems more interested in “an acting challenge,” rather than responding to any part of the story that speaks to them. Yes, the film is sad, but it’s also hollow. It is possible to make a depressing movie about illness and still have it be dynamic and entertaining.
Look no further than The Father for a new, interesting and arresting look at dementia. The filmmaking, performance, editing and production design are all in service of a unique perspective that carries through the entire film. Similarly, Still Alice is a much better movie than its reputation suggests, and not just because of Julianne Moore’s Oscar winning performance. The movie takes an interesting turn when the movie focuses on the tempestuous mother-daughter relationship between Moore’s Alice and Kristen Stewart’s Lydia. Both movies may center around illness, but their characters aren’t defined by their illnesses.
Stanley Tucci (right) trying to point out one of the few lighthearted moments in "Supernova" to Colin Firth (left).
Audiences looking for a good cry will find it in Supernova. On a basic level, it accomplishes that goal. That’s because it knows how to effectively play a sad note and plays that note repeatedly. Unfortunately, as Sam well knows, one note does not a symphony make. It’s funny that the movie names itself Supernova, because it never reaches for stars. C
Supernova is now playing in select theaters. It will be available to rent and own on Tuesday, February 16th.