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« Sunset Circle names "TÁR" best of the year | Main | Lots of winners at a 'spread the wealth' kind of Gotham Awards »
Tuesday
Nov292022

Review: "The Fabelmans" is a 'love letter to cinema' done right

by Cláudio Alves

Around the holiday season of 1952, a Jewish couple takes their son to the movies in New Jersey. It's his first time watching a picture on the big screen, and the experience will change him forever. As Cecil B. DeMille's The Greatest Show on Earth unravels at 24 frames per second, the kid's eyes watch everything in starry awe, growing fearful as a massive train crash marks the narrative's climactic set piece. In the coming days, he'll ask for a trainset as his Hanukah present, growing obsessed with restaging the calamity he saw projected big on that magical place, the movie screen. So he doesn't ruin the expensive toy with multiple crashes, his mom suggests the boy films the crash with the dad's 8mm camera. And thus begins a love story bigger than life itself.

In reality, the boy's name was Steven Spielberg. In this latest memory play turned film fantasy, or private secret elevated to public spectacle, he's Sammy Fabelman…

Love letters to cinema that are also memoirist exercises for their directors are all the rage now. That's not necessarily bad, for that kind of experiment has inspired many great films, including older examples like Terence Davies' The Long Day Closes from 1992. However, for every Davies dream, we get a Branagh nightmare, so it's not like we're all swimming in floods of great films about film-loving and film-making. As if to set the record straight and show everyone how it's done, modern Hollywood's greatest classicist has come up with his own variation on the model. 

The results are almost too good to be true, a miracle of formalism in tandem with sentimentality, lacerating observations on domestic fractures tempered by a frank appreciation of what movies can do. Sure, the craft calls attention to itself, but that's the point. Before going too far into hyperbole, one might as well admit that not everything works. As much as I love Tony Kushner's work, The Fabelmans can be overwrought at times, its themes too plainly stated with an articulateness that's only occasionally matches the characters. 

Monologues aplenty feel forced, even when they facilitate great performances like Judd Hirsch's barn-burning spiel about the price of art, becoming a master is akin to a pyrrhic victory. It's a foreboding message that reaches its apex when Sammy can't seem to perceive, nearly disassociating from his emotions. Regardless, whatever fails in terms of character interaction is forgotten when one considers the brilliant structure of this thing. At 151 minutes, The Fabelmans should feel long. Instead, it flies by. This care for rhythm and propulsive energy underlining every meandering moment is also manifest in the tonalities at work.

For those who see Spielberg as a pablum peddler, there's plenty here to justify that belief, but there's also an unexpected variety of registers. The carefully observed quality of the family dynamics is unsurprisingly poignant, but it also often verges on sweetness-destroying acidity. The Fabelmans is also funny, especially when it drifts away from home into the perilous land of high school romance. A scene laden with Christian iconography jumps out as one of the most hilarious things Spielberg has ever directed and made me yearn for his take on a sex comedy. Another surprise is how much the younger cast members rise above their older costars. 

In the roles of Sammy's parents, Paul Dano and Michelle Williams have sublime moments – his last scene, the many instances when she watches her son's work. Still, they rarely surprise or make an unworkable line work. On the other hand, their on-screen children hit the ground running and never let up. There are no two ways about it – The Fabelmans belongs to Gabriel LaBelle in a star-making turn. Playing the older Sammy, he's astonishing, often asked to project adolescent confusion falling into cruelty, apathy, anger, and sometimes passion. He's magnetic in that way Spielbergian kids so often are while allowing complexity to seep into the Amblin-awe.

As a film lover with three sisters and a close relationship with his mother, partially forged in the fire of shared mental health issues, it was easy to find common ground with LaBelle's portrait of Sammy. Moreover, I was an easy mark for much of the movie's emotional pull. Nevertheless, The Fabelmans' effectiveness goes beyond personal associations. That's notable in moments detached from the family melodrama, when the focus is on an artist's development, the understanding and misunderstanding of their creations.

Spielberg's past filmography echoes through it all like a scream in a cavern, revealing just how much the auteur's overall work is an expression of self, be it the trauma of the parents' divorce or a continuation of juvenile loves. It's also a desperate attempt at giving order to what has none, trying to take control over the chaos of life through the camera's gaze. This particular thread can feel didactic but it's hard to care because so few films, even meta-cinematic pieces, ever problematize what a camera does or the value of framing, blocking, showing or not showing. Moreover these elements and preoccupations set up what might well be the best final shot of the year.

Speaking of endings, it's time to bring this review to a close. Leaving the theater, I felt akin to what one imagines little Sammy Fabelman felt after watching DeMille's Best Picture winner. My entire body was electrified by cinema, mind abuzz with ideas and adoration. That said, despite the love, I can understand some of the movie's naysayers and their critiques. To call negative notices reactionary backlash, a mere byproduct of Oscar buzz, is reductive and a disservice to everyone involved, including the filmmakers. Let's honor the creative spirit by accepting that art belongs to its audience, that each person has a unique experience that might go against what the artist intended. Your eyes might see something that someone else watching doesn't and vice versa. That's not wrong – it's just how movies work.

The Fabelmans is currently in theaters. Don't miss it!

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Reader Comments (11)

So glad that you liked Gabriel LaBelle in it. He really is the MVP. However, Claudio, I love you, but you've lost your mind a little saying that the movie "flies by." It is too long. I felt every second of that last third. I don't know how you didn't. There's no reason that movie needed to be 120 minutes, much less 151 minutes.

November 29, 2022 | Registered CommenterCharlie G

Charlie G -- I confess that when we got to the David Lynch part, I was still expecting to be half an hour left and was excited about it. Still, the perfect ending made up for what could have been, in my eyes, an abrupt stop. I'm not lying when I say it flew by for me, though I am known to be something of a lunatic when it comes to these things. I also thought DRIVE MY CAR flew by, so...I guess have lost my mind a long time ago :P

November 29, 2022 | Registered CommenterCláudio Alves

I'm surprised you laud the "formalism" because I found this to easily be among Spielberg's least visually interesting films. You also don't talk about the formalism at all in the review, so I'm not sure what so arrested you!

I liked it but less than I wish I did. It's nice how modest it feels when it could have easily been so self-aggrandizing, but I yearned for the grand spectacle that makes Spielberg, well, Spielberg. I also found most of the high school stuff really shakily written and staged.

And was I the only one distracted by LaBelle's eyes? Not only were they not the same color as the younger actor playing Sammy, they seemed like strange, almost opaque contact lenses that were done no favors by the constant closeups.

November 29, 2022 | Registered CommenterWae Mest

Charlie -- i had both experiences. The first time it flew by for me. The second I was like "oh, this is kind of long". But I love it.

Claudio - glad you loved it. I feel so much warmth towards it myself but I am a little more annoyed by the criticisms than you seem to be. For instance even in your review you ding in for its monologuing but that's one of the things I loved about it was its theatrical language. I am, at this point I think, bored with realism/naturalism, so it's wonderful to see a film fully embrace a heightened quality and not go for that. It felt very intentional to me. It made it feel more like a "fable" if you will, playing on both the title and ironically reality that memories are not reality, but stories we tell ourselves in bigger ways.

November 30, 2022 | Registered CommenterNATHANIEL R

Wae Mest -- You are right that I point towards formalism without elaborating. I was trying to be succinct, but I understand how it can come off as a frustrating read.

I think of the careful framing and blocking of domestic spaces and how it often seems like the staging of barriers between characters is more illuminating than the text. I loved the variation in film textures as a way to start hinting at Sammy's dissociation from his life, with grain increasing as we perceive the world as a film rather than reality. There's also the sound work, more natural at the start but increasingly attuned to a subjective twist, and how the editing plays the same tricks. It calls attention to how editing shifts perspective, especially in the sequences we revisit in the cutting room of Sammy's imagination and craft - the beach sequence and its subsequent reframing. Moreover, I think this is Kaminski's best work in eons, cutting out some of his most annoying tendencies while weaponizing the deliberate falsity of his style - how light is heightened in scenes of movie projection delighted me, as did the several nods to Spielberg's other films - sometimes evident like in the AI mother-son moment, sometimes subtler like the blinding light seeping through a doorframe as in CLOSE ENCOUNTERS. Hope that's a bit more specific.

Also, those were contacts.

NATHANIEL R -- Apologies if I was annoying with my negative points. I am bored with naturalism, too, but tend to prefer repudiations of it in form or acting rather than text. Also, my problems with these monologues weren't so much their unrealistic nature, though it bothered me how they sometimes betrayed character. Truthfully, they mostly came off as redundant, spelling out things the camera had already made obvious and adding needless repetition to the interpersonal interactions. I guess I always prefer excess in style rather than in script. I do enjoy your point about the "fable" notions these choices suggest.

Thank you for the feedback, guys.

November 30, 2022 | Registered CommenterCláudio Alves

NATHANIEL, CLAUDIO, WAE - Just to clarify, I, too, enjoyed the movie overall. Yes, it's a formulaic script and production. And it's too long. And Michelle Williams is not great.
But the movie overall is super solid, and really well put together. The character arc from lost kid/teen to a young adult who takes the reins in his life had more of an effect on me than I thought it would. It was really inspiring. There are worse things out there to see.

Gabriel's eyes were distracting (Wae made me giggle over that comment - LOL).

November 30, 2022 | Registered CommenterCharlie G

Cláudio, a terrific review. A cavil: I don't regard this film as a love letter so much as an essay on filmmaking: its terrors, wonders, complications. Trailers and descriptions have gotten it consistently wrong. Hell, I was reluctant to watch this thing because I'm tired of films celebrating The Magic of Cinema, especially when Damien Chazelle thinks the world needs a three-hour-plus Ode to Old Hollywood Magic.

I had a problem with its on-the-nose moments like Judd Goddamn Hirsch's would-be Oscar clip. Mostly I reveled in its confidence. I'd say it's more interesting visually than you asserted.

My own review: https://humanizingthevacuum.wordpress.com/2022/11/29/the-fabelmans-is-the-rare-complicated-film-about-filmmaking/

November 30, 2022 | Registered CommenterAlfred

To me, this film is the ultimate repudiation of the idea of separating the art from the artist, mainly because the most exciting about it (at least for me) is that I feel like I come away from it knowing Steven Spielberg a little better, which is my favorite thing about art as a whole. Watching this film, I feel I understand how Spielberg became the master emotional manipulator that he is, through his desire to find control in a world that spirals out of all of our hands (this is why I disagree with the people who think the California section doesn't add anything... the idea of Sammy Fabelman managing to make heroes out of the tormenters in his life through his skills as a storyteller feels like quintessential Spielberg), and I've always loved watching a film of his and feeling that he's speaking directly to us.

Spielberg as a filmmaker oozes a sincerity that many people find cloying, but I often find refreshing. It's why his films rarely have room for ambiguity or subtlety... he has a very specific experience in mind that he wants to communicate, and he is a master at communicating it, which is why, for all that people accuse him of being schmaltzy and while granting that some of his storytelling choices can be quite awkward, I always admire the way he tells his stories, with the utmost near-childlike sincerity.

This is all why I ultimately admire The Fabelmans so much and find it a pretty essential piece of filmmaking, even if I do agree with Cláudio that it is at times overwrought (though I wouldn't trade a second of Judd Hirsch's masterclass of a cameo), and even miscast (I may be the only one who has this problem, but Paul Dano looks distractingly young in the film, especially in his scenes with Gabriel LaBelle where they look more like brothers than they do father-and-son... would it have killed someone in the make-up department to give him some facial hair or at least some gray hairs to age him up?). This is one of Hollywood's most essential filmmakers baring his soul and offering a snapshot into what it was for him to be who he was growing up, and when it's this sincere and unapologetic, some may find it cloying, I find it illuminating.

November 30, 2022 | Registered CommenterRichter Scale

Alfred -- GORGEOUS REVIEW. Thanks for sharing the link.

November 30, 2022 | Registered CommenterNATHANIEL R

Thanks for great review!

December 26, 2022 | Registered CommenterJohn Fazio

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https://www.kaggle.com/code/paulflythe/key-differences-between-argumentative-and-opinion?scriptVersionId=114566008
https://www.kaggle.com/code/paulflythe/figure-out-25-unique-and-good-topics-for-an-opini?scriptVersionId=114566162
https://www.kaggle.com/code/paulflythe/blog-2

December 30, 2022 | Registered Commenterrick beaver
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