Anemone
Nepotism isn’t always a bad thing.
Take, for example, Ronan Day-Lewis’ feature directorial debut Anemone. Not only did it inspire his legendary father Daniel to co-write his first screenplay (with Ronan, of course), but it brought the three-time Oscar winner out of retirement and very well may result in a few more acting credits before he’s truly done.
While Daniel’s star-power was certainly a major factor in getting this fairly small drama made, Ronan delivers on his end of the bargain, crafting a thoroughly well-made film and guiding terrific performances from a small but mighty cast.
In what feels like a play adapted for the screen but is indeed an original script, Jem (Sean Bean) travels from Northern England to an ambiguous forest location to visit his hermit brother Ray (Daniel) and convince him to return to civilization. (The film was shot in Wales, but until we can screenshot Jem’s handwritten GPS coordinates, it’s tough to be certain.)
Amidst gorgeous natural scenery and long stretches of silence that attempt to break There Will Be Blood’s record for consecutive minutes without dialogue, Jem tries to coax Ray into opening up and predictably faces stiff opposition. It’s fascinating to watch these two masters of the craft at work — particularly Daniel who, showing no signs of rust after an eight-year hiatus following Phantom Thread, conveys so much with his body language and actions.
The reasons for Jem’s trip, 20 years after last seeing his brother, deserves to be discovered on one’s own, but they concern Jem’s wife Nessa (Samantha Morton) and their son Brian (Samuel Bottomley, How to Have Sex). Their shared scenes back in their English home may not pack quite the punch as the Daniel/Bean combo, but serves as a welcome counter to their intensity and makes Jem’s mission all the more important.
As Ray’s icy shell gradually thaws, humorous anecdotes are revealed — his story of revenge on a pedophile priest is especially a corker — but also difficult details regarding the brothers’ experiences as British soldiers during The Troubles. Information dump monologues make sense considering the circumstances, yet are a bit too theatrical despite Daniel turning them into rousing acting showcases. Again, these are first-time screenwriters, so be patient with them.
A Yale-educated painter, Ronan has a strong eye for compelling visuals, and though he overdoes it on the drone shots, they’re not lazily constructed, either. It’s clear that he and his collaborators have carefully thought out each scene, and the level of craftsmanship on display suggests even greater things await.
Grade: B-plus. Rated R. Now playing at Carolina Cinemark and Regal Biltmore Grande.
(Photo: Focus Features)
