The Descendants
Loss and misunderstanding are the subjects of “The Descendants”, a delicious feel-good movie as funny as dramatic as is vitalize the performance of George Clooney tasty and implementation of careful Alexander Payne.
The wife of Matt (George Clooney) is in a coma. Getting closer to his two daughters, the father discovers that his wife was having an affair. Unable to come off the head of infidelity, the trio sets off in search of this mysterious lover.
Long known as one of the most talented filmmakers of his generation, Alexander Payne had a low profile in recent years. Having long since abandoned his biting tone that made the charm of “Citizen Rush” and the unclassifiable “Election”, he made a specialty of endearing features alternating between laughter and emotion. While not great films, “About Schmidt” and “Sideways” were friendly comedy drama, and it is the same of “The Descendants.”
Much more than for its staging precise but discreet, his judicious choice of music and how to extricate himself at the last minute postcard scenery of Hawaii, Payne is primarily a director of speech. These are his words that fly and detriment. It is his outlook on life, love, fatherhood and legacy of the family that affect sensitivities, constantly walking on a tight wire, warming the heart despite a subject that could have been heavy. On the contrary, even if the film does not refuse his saddest moments that are essential, it acts as a ray of sunshine, a rainbow sky comforting reminder that anything is possible, nothing is really done. Lessons in life that never seem too judgmental. Instead, they are brought with a lot of fingers, coated in winks very successful.
The film would probably not be the same without the presence of George Clooney. Flashes in the eye, presence of bears in the making, a process sometimes left but if representative of a father who tries to understand his wife and daughters, he delivers one of his finest performances. Normality suggests an even greater work, while the stars of his caliber often tend to put too much, to fly above the fray. This is not the case and his play anything but selfish leaves much room for different characters, which are mostly performed by actors little known. Stand out in particular girl wanton Shailen Woodley, Amara Miller in the bubbly child who wants to know everything and Judy Greer as a woman who sacrifices himself for the good of his offspring.
Offering surprising moments of irresistible laughter (many of which revolve around new friend Matt and his daughter), combining brilliantly charts where personal and professional spheres are often not that, “The Descendants” is a very good little film, but certainly many minor fine-tuned, in which tenderness and emotions flow freely. Perhaps not strong enough for the Oscars, but perfect for a beautiful evening at the cinema.
