Derek Cianfrance's "Blue Valentine" was a film that showcased raw emotion within the context of formal innovation. The film portrayed the flourishing of a relationship while simultaneously interweaving it with the same couple's dismantling several years later. In his third feature film, the director has continued his ambitious experimentation, only this time he has decided to break up a film into three parts with three different protagonists. Each story follows one character and eventually blends into the ensuing section where a new person takes over the mantle of protagonist. The effect is ultimately unique and ambitious but creates an unfocused film.
In his interviews, Cianfrance has stated that his goal of the film is to show the legacy that fathers leave for their sons. As the picture commences, we are introduced to Luke (Ryan Gosling), a motorcycle specialist who works for the circus. During a performance in Schenectady, he finds out that a fling he previously had has resulted in the birth of his child. Realizing his new calling, Luke sets out to find a means of providing for his son. This narrative holds for close to an hour and eventually paves the way for a rookie cop Avery Cross (Bradley Cooper) to take over. Cross starts the story as a hero and eventually finds himself involved in the corrupt functions of the New York police department. While Luke's story focused on his every action to serve his son, this one glimpses the theme of fathers and sons but instead chooses to place its emphasis on police corruption. When this narrative has drawn to its conclusion, the film abruptly fast forwards 15 years to shift focus onto the teen angst of Avery and Luke's two sons. It is at this point that the film loses its way with neither of the teens (Dane DeHaan as Luke's son Jason and Emory Cohen as Avery's Son AJ) able to give the same pedigree of performances that Cooper and Gosling portray.
The script presents an even greater source of frustration as it demands that you play by its rules in order to accept the film's denouement. The first act represents an enthralling character study that ends just as the interest in Luke has reached its peak. In Act 2, the complexity of Avery's character really comes down to his guilt and his desire to right his wrong. But that character study essentially gets dominated by Cianfrance's decision to focus on police corruption. Act 3 connects all the open plot threads from Acts 1 and 2, but its movement seems imposed rather than organically wrought from its characters. The big issue is not whether or not any of these events are believable or not; many films make the unbelievable plausible. The main issue is that Cianfrance crammed three movies into one and in the process left the viewer wanting more. Act 1 is easily the most intriguing, but it feels accelerated and the viewer is unable to really interact with its main character. At one point, the sequence follows a rather predictable structure with little deviance or revelation. Luke robs a bank and then tries to provide for his child. When he fails, he repeats the cycle a few more times. By trying to expand the scope, Cianfrance has in fact limited the world and space in which his major characters can interact in.
Despite those gripes, there is a great deal to admire about the film. The cinematography by Sean Bobbitt is undoubtedly stellar. The opening shot is a long tracking move that follows Luke from his trailer through the circus all the way to the venue where he will be doing some motorcycle tricks. The framing does not portray Luke's face throughout the entire shot, adding to the intrigue surrounding the character. More importantly, the raw desaturated quality saps out all the color of the circus and instead portrays a dark and grimy world. The shot itself almost implies that the world is really a disgusting place on the inside despite all the pomp and circumstance it attempts to impose on its viewer. Bobbitt also does a fabulous job during the action sequences which are also shot in single takes. The uninterrupted shots not only add a visceral and chaotic quality, but also intensify the action on screen.
The performances are also top notches for the most part. Ryan Gosling brings his usual swagger to Luke, but is more subdued than usual. Luke remains quiet throughout; an intense stare dominating his tattooed face. The collected demeanor demands the viewer to take a closer look and imagine his thoughts. During bank robbery scenes, the seemingly strong persona gives way to a more frantic and flustered guy who screams with a high pitched voice. Bradley Cooper matches Gosling with a nervous energy that makes him the perennial underdog. Like his Oscar nominated performance in "Silver Linings Playbook," Cooper has a powerful vulnerability that draws the viewer in to root for him; the only difference here is that he lacks the charisma or confidence that defined Pat Solitano. When the film moves on to the third act 15 years later, Cooper's Avery is a completely different man. The vulnerability is seemingly gone and has been replaced by confidence and poise; there is also callousness in his interactions with his son. DeHaan and Cohen do solid jobs as the two sons, but neither really stands out or really draws the audience in the way the other two aforementioned actors do. Eva Mendes provides one of her best performances with her vulnerable but poised Romina.
Even if the film feels uneven and unbalanced at times, there is no denying Cianfrance's ambition and innovation or his cast and crew's strong deliveries. More importantly, he challenges the viewer to shift his/her focus from one character to another without every deviating from his vision. This film proves to be a solid follow-up to "Blue Valentine" and certainly suggests that Cianfrance's future works will not only be challenging but original and potentially pioneering.