The Disappearance of Eleanor Rigby: Him

Hollywood has given us some of the greatest love stories ever told, but they don't always seem real. The Disappearance of Eleanor Rigby: Him is just about as real of a story as you will get. Not only does it delve into problems that couples regularly have, but it gives us a sense of what it's like to try and overcome a tragedy close to home. It's not a film I recommend you watch as a "chick flick" or when you're in any sort of good mood. But if you are looking to be a little sad and perhaps wanting to see what it may be like to be in a difficult marriage this is the film for you.

The way these two films are told is extremely risky and experimental. I have not seen "Them" but I imagine the films were meant to be separate and not combined into one. "Him" gives us James McAvoy's perspective on the couples attempt to rekindle their relationship. I liked this side a lot more. I guess it could be because I was able to relate more to a man's view on a relationship rather than a woman's? Or maybe it was because this side just flows a little bit nicer. I definitely think this is the film you should watch first. McAvoy's character, Conor Ludlow, acts like any guy would act when his wife or significant other suddenly removes herself from his life. You just want answers, but relationships are never that simple. The film really seems to take the (500) Days of Summer approach of not promising anything clichéd or Hollywood like happening, rather giving their relationship a grounded realistic take.

There are quite a few moments of true romance. Lines like "Before you I didn't know who I was" come off as just heartbreaking knowing that this is the same for so many other couples. Love is something that doesn't come easily or without work. But I think if you truly love someone, in the end the effort and sacrifice is all worth it. It's a form of a love story sure, but it became more of a character story of overcoming tragedy and accepting that life does go on after. I would imagine it's something that seems unimaginable, but at the same time unavoidable. I really liked the way the film ended, especially with the music. Although I'm curious to see how they could have ended "Them" knowing they have to accommodate both sides.

+McAvoy's real performance

+Score & soundtrack

+Relatable real life relationship

-Can be too depressing at times

8.3/10

This film tells the story of a couple who separates because of the overwhelming grief caused by the death of their son. The process of grief is told from the man's perspective.

"The Disappearance of Eleanor Rigby: Him" has a lot of footage not shown in "The Disappearance of Eleanor Rigby: Them", which is a welcomed sign. The story concentrates on James McAvoy trying to get his wife back, the operation of his restaurant and his relationship with his father. Grief is not the emphasis of the plot, and as a result I think the story is not as compelling and captivating. As a standalone film it's good, but it lacks a certain sparkle when compared to "The Disappearance of Eleanor Rigby: Her".

If you want to watch all three of the films, watch Him, then Her, then Them.

One thing that I do like about this film is that when this movie does show scenes where the characters are in love with each other, it's very well done. At least the performances are. When these two are in a scene together, you can get a good vibe of what they're feeling. It could be them in love, depressed, scared, or anything that involves emotion. This movie does focus on the emotion of James McAvoy.

It's not just the emotion however. You do know very well that McAvoy is still in love, he cares, and the movie does focus on that, but it also focuses on his work job. That may not seem like it is interesting, but it does add a bit more to what McAvoy's character is dealing with, because it's not going completely well with his work space either.

The title of the movie is a good one. It seems like it came from a novel you would find somebody reading at a coffee store, but it is an original title and film. This movie does a decent job on it. Chastain isn't in this movie that much, you are curious where she is when she's not involved in the story. When she does show up, you question what her motivation is to why we're seeing her, and part of the fun is that we have to see the other film to see her motivations and other stuff.

My few complaints about this film is that the concept of this story does seem interesting, however it isn't a very compelling story. Like I said, part of it is because we don't know what Chastain's character is thinking, but nothing really grabs you unless it's a scene with McAvoy and Chastain together.

Which leads me to a specific scene involved with them. Now I'm not going to spoil it because spoilers are no fun. We really don't know what the real reason is why these two split up and when the movie does reveal why, it gives a bigger impact on how the characters reacted when they're together, which to me, makes those scenes a tiny bit more enjoyable.

Also without spoiling anything about the ending, it was very abrupt. I'm pretty sure there is more to it when you see the Her film, but that ending really seemed unnecessary.

The concept of the story is being told is interesting. But when it only focuses on James McAvoy's character, the movie isn't the most entertaining and compelling thing. Yet it when McAvoy and Chastain share the screen, it gets interesting because you can feel their emotions and those scenes with them are well done and compelling, especially one scene that is a big part of the story. The ending may make more sense if both films are scene, but Him is a decent movie that might be even more enjoyable once Her is watched.

Saw this last night (I consider it one film, saw both parts back to back in that order). Such a lovely, touching film, and not at all what I expected when I first heard about the project. First off, I just want to say that I find the title really gimmicky and misleading. Okay, sure, it's technically not "wrong", but it just sounds like a lead-on for something it's not, such an easy way to grab audience's attention.

The basic plot point that leads to the whole film has been done before (Rabbit Hole did it just a few years ago) and the whole film isn't trying to be anything other than an honest, captivating look at two characters' lives and the way they deal with this tragedy. For some reason I thought it was going to be this really daring film. I was wrong and I knew almost immediately, but I didn't mind. The script is fantastic, and the two leads superb. McAvoy actually impresses more in Her, and as a whole he's not really in Chastain's level, but he has some really strong scenes and as of now I'd have him in my Top 10 for Lead Actor (and he's in my top 3 for Filth, which is a better performance but an inferior film in every way). What can I say about Chastain? Her best performance alongside Zero Dark Thirty, and may very well be even better for the fact that she's able to play a much more rounded character in terms of emotions. What I've always found incredibly impressive about her as an actress is that, not only is she technically impeccable in all her work to a fault like so many other acclaimed actresses are, but she's also able to inhabit a character fully to the point that her technicality doesn't feel like we're watching her at a distance emotionally. That's a problem I have with some actresses working right now. They can be great, yeah, but can also hit notes technically well while feeling too much like it's all for show at times. I've never had that problem with Chastain. Her work here is among the best of the year and it's a shame that neither her or the fantastic film she's in are even getting mentions from critic bodies. If its because of the stupid "Them" decision, then what a shame... but it's most likely not, and that's an even bigger shame

The sadness of being an incorrigible completist, I have to finish all these three films before writing my review, Ned Benson's ambitious feature-length debut is a post-trauma story of a young couple Conor (McAvoy) and Eleanor (Chastain) in New York after losing their child in an unspecified accident, HIM centres on Conor and HER centres on Eleanor in the same time period, then interweaves these two versions together, there arrives THEM, one can get an overall view of their paralleled life. So basically, I have watched the same movie twice, and certain scenes three times where the path of Conor and Eleanor converges.

The premise is soundingly intriguing, as often cornily referred as two separate cerebral hemispheres, the film allows viewers to observe how men and women think and act differently towards the same scenario, in this case, a heartbroken tragedy. In HIM, the movie starts with one of their most intimate memory before their bereavement, an inadvertent thrill in their ordinary life sparks strong romance with Conor amorously says: "There is only one heart in this body, please have mercy on me". Then it jumps to several months of the aftermath, Eleanor uses an extreme method to declare that their life can not sustain as the status quo, they need to take a break. Conor doesn't understand why she needs her alone-time for her grievance, he is equally heartbroken, but he is ready to move on, leaving the tragedy behind with a seal on it, not to mention and keeps living on afterwards. He opens a bar with his best friend Stuart (Hader) and a flirty barmaid Alexis (Arianda) who is ready to "falling in love with him madly if he allows her". Meanwhile his father Spencer (Hinds) owns a successful restaurant named after Conor's mother, whom he dumped ages ago, it is also a thorny decision for him whether or not to swallow his pride to admit failure and take the restaurant inasmuch as his bar is on the brink of bankrupt, it is a privileged struggle as a rich kid's blues.

In HER, no romantic prologue, Eleanor is introduced in her abrupt suicidal behaviour, then she returns to her bourgeoisie parents living in the suburb (played by Hurt and Huppert, he is a university professor and she is French), she goes back to the college and takes a class of professor Lillian Friedman (Davis), before long Conor finds out her whereabouts, stalks her in the street, in the classroom and eagerly to reconnect. As Hurt carefully phrases "Tragedy is a foreign country, we don't know how to talk to the natives", Conor's tentative makeup doesn't work, Eleanor needs to be over-indulged in the past for some time before finally moving forward, plus, she can spend all the time she wants in Paris, to heal her wounds, after a whimsical but failed reconnection during a pouring rain and a vis-a-vis opening-up in the middle of the night, it is rather tedious for her to realise that she should take a real break out of the Tri-state area. The disparity erected between each and every individuals cannot be compromised, only when they arrive in the same page with the same pace, they may have a chance to start anew as a couple.

As often as he can, Benson intends to throw snappy verbal rejoinders to sound posh or vivacious, but most of the time they are ill-placed ("Now YOU sound maternal" throwaway) and uninspired, as most of the dialogues verge on beating around the bush either without any substantial function or being painstakingly predictable. Yet the two leads is recommendable in any rate, so it is safe to say the film is perfect for McAvoy and Chastain's stalwarts, both set off a full gamut of emotional overhaul and not to mention many close-ups to let their fans luxuriate in the idolatry. Among the eclectic supporting cast, Huppert radiates in every scene simply by holding a glass of red wine in her hand, and Davis thrusts her raw gravitas into her casual bantering with her THE HELP (2010, 8/10) co- star, as an outsider, she is the one who pierces through the surface without any scruples, only if she could have more screen time in it.

The indie soundtrack is an understandable trapping of the prevalent mumblecore output, it's ambient, moody and meditative, tailor-made to outline the disposition of the storyline. Collectively speaking, the films attempt to be artistic and unique, it could have hit the bull- eye with all such a talented group, only if it could subtract the permeating tint of narcissism, and conjure up some more salient epiphany. At last, the THEM version abridges some minor sequences and merges HIM and HER with an intact take on the proceedings. There is no new scenes added, so one can choose to watch HIM and HER, or THEM, either is sufficiently competent to disclose its allure and drawbacks.