Manchester by the sea is a beautiful movie. This movie reflects a person, trying to adjust his life filled with misery and pain, suddenly gets an unwanted responsibility to deal with. and in that process of journey, we learn background glimpses of broken relationship, living burden of pain, abandonment of responsibilities, hope resembling re-establishment of relations, moving and living on with truth and reality.Casey was brilliant from the word get go. He let us feel the character deeply. Sublime performance from Lucas, as well, as patrick... It is a pure class hardcore slow drama that for sure would cover a particular class of viewers.
So many people are talking about the movie's lack of ability to portray the loss of the people you love. This isn't what this move is about. If you want to see a movie that depicts loss well then please don't watch this movie- because although that is one of its themes, the main theme that this movie is about is regret.As you can tell when Casey Affleck's character forgets to put the screen on the fireplace, therefore causing the entire house to burn down, the movie portrays the inevitable mistakes that we make through life and the process of flipping the blame from entirely ourselves (Casey tries to kill himself) to understanding that loss is everywhere and somewhat of a random, natural process. We can see this point of acceptance when Casey talks to his former wife and she tells him that it wasn't his fault. Casey simply says "no" but he knows that deep inside it really isn't his fault anymore. He's accepted that sometimes our mistakes are just a natural process of who we are, no matter how large or small.Now he needs to live with mistake over his shoulder, and instead of killing himself he's found redemption in helping his nephew buy a new motor for his boat, and helping him settle in after the death of his father.It's a great metaphor about regret and the ability to eventually overcome.
Edgar Soberon Torchia
The appropriate use of music in films is one of the crucial problems of current cinema, especially in American movies. It is a formula inherited from Tiomkin, Steiner, Waxman, Korngold and Herrmann, and the filmmakers for whom they musicalized: together they packed the complete product (as in "Gone with the Wind"), without knowing when to stop the music. However, almost a century has passed, sound has made great advances and the effect of omnipresent music has become obnoxious. Was it necessary to punctuate the tragedy of Lee Chandler (Casey Affleck) for eight endless minutes, since the moment he goes out to the store one fatidic night, until the scene when he leaves the office of the lawyer who has read his brother's will, with cloying adagio by Albinoni or whoever composed it? For me, the music selection is the detrimental aspect of the film: it has nothing to do with the history, but with the unrestrained sentimentality of director Kenneth Lonergan. I liked the uncle-nephew interplay and all the great drama about pain and death ... The excellent performances by the whole cast are enough to transmit everything! Lee's silences and fists of anger, the panic attack of his nephew Patrick (Lucas Hedges), the dialogue of guilt and forgiveness between Lee and his ex-wife Randi (Michelle Williams), the loneliness of Sandy's mother, Jill (Heather Burns)... The inclusion of classics is redundant and mawkish (and the "house composer", Lesley Barber, was caught up, judging from his title chorale), gaining more presence than such an adequate soundtrack as the voices of Bob Dylan, Ella Fitzgerald or The Ink Spots. The director did not contain himself. The classics were good for "Barry Lyndon." Kubrick excelled at that. Even the hyper-contrast between "The Blue Danube" and the spacecraft in "2001, a Space Odyssey" was a brilliant move. But Mr. Lonergan is no Kubrick. With 10 or 15 minutes less, a selection of the American songbook and the classics saved for when he drives his car down the road, Kenneth Lonergan would have made a perfect film.
Depressed? I have seen many depressing movies. I have seen many bad movies, but this is both. I stuck with it because of the accolades assuming it would spark into life at some point. Sadly not. If the pregnant pauses were taken out of this film it would have lasted less than an hour. A lot of the scenes started with an inexplicable pause let alone the ones added during the dialog. Very difficult to watch. Boring, unnecessary length of time taken with each scene most of which had little to do with the story, just repeating the turmoil of each character and, boy, they had so much turmoil. If being depressed wins you an Academy Award this wins hands down. I don't think that acting depressed is too difficult. No change in emotion during what felt like three hours is not too hard to play but by God it's hard to watch.