Extremely Loud and Incredibly Close (12A)

Best Picture Oscar nominee still in cinemas!

This review was first published in The Methodist Recorder (www.methodistrecorder.co.uk).

Extremely Loud and Incredibly Close (12A)

The latest film by director Stephen Daldry (Billy Elliot) follows nine year old Oskar Schell as he struggles to cope with grief after losing his father on 9/11. Oskar may or may not suffer from Asperger’s syndrome, and needs to hone his interpersonal skills as well as face his many fears and phobias.

Tom Hanks plays Oskar’s father Thomas, a likable character deliberately played one dimensionally so as to portray Oskar’s feelings and memories of him. Oskar loves everything about his dad from his familiar behavioural quirks, to the ingenious outdoor ‘missions’ that he devises. These are elaborate treasure hunts for Oskar; so when post 9/11 the boy finds an old key of his dad’s without a lock, he sets about investigating its purpose, considering this his father’s final challenge.

Though played with startling passion by rising star Thomas Horn, Oskar makes something of a grating lead character. He carries a tambourine everywhere with which to calm his nerves, but for the audience it’s constant rattle is rather irritating. Sandra Bullock is very believable as Oskar’s widowed mother, and the legendary Max von Sydow is brilliant as a mysterious mute.

The film’s tone is one of intense sincerity, and while that might be necessary to remain reverent of 9/11, it forces the story to a place where it only rarely rings true. Daldry intended that the film be released in time for the tenth anniversary of 9/11, so now unfortunately the story feels belated. Had it been produced sooner after the fact then the film may well have had greater impact, but as it is the effect is dampened.

The world portrayed is one where questions do not always have answers, and where atrocities are as meaningless as Oskar’s efforts to understand them. It is true to life then, but only as perceived by souls living by sight alone. No comfort or consolation is presented, just the need to come to terms with the meaninglessness. This leaves the viewer feeling somewhat empty when the credits roll.

Others have called Extremely Loud and Incredibly Close the weakest of this year’s Best Picture Oscar nominees, and with good reason. The story is untimely and delivers a mixed message, but the solid performances and harrowing depictions of the World Trade Centre attacks just about make it worth seeing.