The Living Wake (15) (This review on FilmJuice.com)
The Living Wake is an absurdist comedy of the highest order. K. Roth Binew (Mike O’Connell) is an eccentric with an expiry date. His Doctor has diagnosed him with a mysterious disease, the only known fact of which is the precise moment at which the sufferer will die. Accompanied by his friend and devotee Mills Joquin (Jesse Eisenberg) K. Roth spends his last day making a last ditch search for the meaning of life, and ensuring that once he’s gone he will not be forgotten.
K. Roth is a character of such inventive wit and passion that it’s hard to believe he’s on the verge of death. O’Connell perfectly inhabits the character, embracing every ridiculous implication of his nature. Without such a strong turn The Living Wake would have been a lesser affair, but as it is his performance makes the film a blast. Shunned by his family and desperate for recognition, K. Roth is a character custom-made for young artists to relate to.
Director Sol Tryon clearly drew inspiration from the works of Hal Ashby and Wes Anderson, particularly Harold and Maude and The Royal Tenenbaums. The way Tryon frames a shot is unmistakably reminiscent of the quirky yet matter of fact look that has become a signature of Anderson’s work; but Tryon keeps safely on the right side of the line between style stealing and paying homage.
The story’s whacky reality takes a few minutes to warm to, but once it gets going the film is consistently entertaining. Some of the supporting parts are underdeveloped and cheesy, but this is mostly redeemed by the strength and depth of the central characters.
Jesse Eisenberg brings a quieter brand of comedy to the show, expertly complementing O’Connell’s over the top performance with a less showy but equally effective one. Though sometimes mute, the rest of the time Mills makes no less clever use of the English language than K. Roth does. The script (jointly written by O’Connell and Peter Kline) is alive with wordplay and charm, achieving an impressive balance between its dark themes and surreal jokes.
O’Connell also contributed to the music, collaborating with Carter Little to produce a delightfully peculiar soundtrack interwoven with songs, lending the production a heightened dreamlike quality.
Though undeniably off the wall the film retains a sombre edge, as if lamenting the transience of life without ceasing to beguile its audience (just like K. Roth’s living wake). Tryon has crafted a production that enthralls with gags and mayhem, whilst subtly presenting a bleak and thought provoking worldview.
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