Some of you may recall famous clothing designer Tom Ford deciding to enter into the world of film making back in 2009. Though some were sceptical, his first foray into the movie business was a huge critical success, as A Single Man became one of the most lauded pictures of the year. Now seven years on, the choosy, multi-talented man has finally found another project that has piqued his interest.
Based upon Austin Wright’s 1993 novel “Tony and Susan”, Ford adapted it, changing the title to Nocturnal Animals. A complicated, three pronged tale, the story, at least in the real world, follows a wealthy art gallery owner named Susan Morrow (Amy Adams), a cold, calculating woman, who, despite seemingly having everything (a handsome husband named Hutton – Armie Hammer, a beautiful Hollywood hills house, good looks, and money), is empty and dead inside.
Out of the blue, she receives a newly scribed proof of a novel from her ex-husband of nearly twenty years, Edward Sheffield (Jake Gyllenhaal) – a man she has not spoken to in nearly as long. The revealing story arouses her interest, getting under her skin, livening her in a way she has not felt in some time.
Taking us into the West Texas desert vistas, the allegorical book is about Tony Hastings (also played by Gyllenhaal) and his family, wife Laura (Isla Fisher) and teenaged daughter India (Ellie Bamber) – both redheads. As they make a lengthy drive on a back roads highway, they are accosted by three twenty-something hoodlums, reckless drivers dabbling in a nerve-racking game of chicken. The gang is led by Ray Marcus (Aaron Taylor-Johnson). Lets just say things feel more than ominous.
Utilizing interesting cuts and transitions, we are also transported back those twenty or so years to when Susan and Edward were courting. It is a time when Susan was more bubbly and vivacious, trying to break away from the stuffiness and elitism of her wealthy family. Her mother, Anne Sutton (Laura Linney), discourages her in regards to a possible upcoming marriage – that his artsy (weak) romantic ways will eventually lead her away from him, breaking his heart and causing strife and delay in fulfilling her own upperclass life.
In the present, she continues to devour the text; it seeps into her essence, connecting her to feelings she has not had for so very long. How will the novel transform the lonely woman? Will she reach out to her former husband? What is his agenda in sending the story to his ex?
A sort of neo-noir, this dramatic thriller is a feast for our eyes and has a transfixing aura that cannot be denied. Subtle clues abound – watch for red sofas, green cars and other indicators in both the real and fictional stories; they will leave you with moments of déjà vu – telling connections for those observant enough to piece together the intricate puzzle. Ford and director of photography Seamus McGarvey (Atonement; The Avengers) select intriguing palettes that speak to each of the three different tales. Though the present has a few moments of sharp colours (used for contrast), it is mostly filled with stark stones and blues, echoing the somber, depressive mood of the main character. In the flashbacks, they utilize a warmer pigment to highlight her more vivacious, romantic temperament. The novel portion is depicted in a grittier, more naturalistic way, capturing the tone of the suspenseful story – including beautiful, yet eerily secluded vistas of the Texas wilderness.
Bringing together a wonderful cast (above and beyond the two superstar leads), Michael Shannon has received an Oscar nod for Best Supporting Actor for his role as Detective Bobby Andes, a no nonsense Texas Officer who shoots from the hip. He is both gruff and caring, frustrated but also willing to go beyond to succeed. He takes Tony Hastings under his wing, an unlikely pairing who attempt to track the three miscreants from the highway. Taylor-Johnson is also exceedingly impressive as a dark, dubious antagonist – uncomfortably cool, calm and calculating in his villainy. On top of roles from Linney and Fisher mentioned above, Michael Sheen, Andrea Riseborough and Jena Malone also pop up on screen for memorable little moments. Likewise, it is not surprising that the costume and hair is spot on (being that the director is a fashion expert). To use Adams as an example, her severe, perfectly placed part, along with her expensive, custom fitted clothing, speaks to her wealth, but more importantly, a rigid, unapproachable vibe that highlights her unhappiness in life. Also, her loneliness speaks to how she has no real close friendships, a woman who keeps people at a distance in this throwaway world of ours (her relationship with her husband a perfect example). If we can take away one thing from this motion picture, it is the importance of strong, stable presences in our lives in this very disposable era of the 21st century.
Intriguingly, each of the three main characters of the novel portion (Hastings, Andes, Marcus) are, in a sense, a part of its author – each speaking different truths of his psyche (his love, his loss, his failures, his weaknesses, his growth); telling in ways that the viewer may not at first realize, yet divulging so very much.
A story of love, loss, heartbreak, depression, rejuvenation and possible revenge, Nocturnal Animals is a rivetting piece of film making. It has a mesmerizing atmosphere, enveloping the viewer in the multi-faceted tale. It also features a memorable score from Abel Korzeniowski, which perfectly captures the intense tone of the subject matter. Lastly, it has a bevy of more than solid performances. So, don’t pass over this film and feel like you’ve been stood up, make sure to investigate this arresting motion picture.