Go Get Some Rosemary

It's interesting and a little bittersweet to go back and watch Daddy Longlegs in a post-Safdie Brothers world. They've gone their separate ways as directors apparently, which is a shame, because each feature film they made was a little better than the last. And Daddy Longlegs was the first they directed together (there was another slightly earlier that just one of them did). There was also a documentary somewhere I believe. But the four core features - Daddy Longlegs to Heaven Knows What to Good Time and then Uncut Gems - that was quite the run. Uncut Gems was basically perfect, too, so I don't know if they could've ever topped that. Whether that was a factor in "breaking up or whether it was something else, I don't know.

Anyway, Daddy Longlegs is about a chaotic father looking after his kids and doing a bad job at it. Thats most of it. It's not great, but I'm also not crazy about these super raw, improv-ish character dramas. Even the ones by John Cassavetes don't do a ton for me. I think the main casting choice in Heaven Knows What makes that approach more interesting, and then Good Time and Uncut Gems are kind of on another level. It feels like there's more immediacy and more going on in those films, and it's sad they perfected a kind of cinematic anxiety and then dipped (though their solo films - which I hope will start coming out sooner rather than later - might end up scratching similar itches).

I think Daddy Longlegs is more than worthwhile for anyone considering completing the Safdie Bros filmography, but it's also not really my thing. It's listless and wandering by design, but I watch this kind of film sometimes and I'm like, "So what?"

I asked "so what?" to myself a little less during Daddy Longlegs than some other rambly films, so maybe it was doing something sort of right.

For those who can put up with its (largely intentional) jumpy hand-held 16 mm. look, Daddy Longlegs is a heck of a stimulating and complex piece of work. It's autobiographical, yet collaborative and imaginative. It's improvisational, yet very well planned. It's appalling, yet also appealing -- a film that sticks in the craw but also lingers in the mind and the heart. It signals the arrival of yet another team of film-making brothers whom we need to watch.

On the face of it, this is the story of a criminally irresponsible divorced dad who gets to spend two weeks out of a year with his two boys, aged around seven and nine. Lenny (Ronald Bronstein) is young and childlike himself, thin, agile, athletic, but graying, terminally unconventional, a hipster, unstable, a film projectionist, a man whose life he has no firm grip on, but determined to love his kids and make his time with them as memorable as possible. When he picks up the boys, he immediately launches into dangerous play, walking on his hands across the street with them. Sage (Sage Ranaldo) and Frey (Frey Ranaldo) alternate between being delighted, excited, and scared to death by Lenny's games.

He has a one-night stand, and then the next day forces himself, with the boys, on the woman and her boyfriend when the latter drives upstate for the weekend. (The story otherwise takes place very much in a Manhattan whose wild grunginess and seemingly greater-then-normal tolerance for irresponsible behavior suggest the New York of the 1970's.) He takes the boys to play squash (a rough game for two pipsqueaks). He gets mugged by a peddler-thug (played by Abel Ferrara) coming home by himself with groceries and ice cream cones, but never mentions the incident to the boys or anyone. He has a date with an on-and-off girlfriend. With her around in the morning, he gives the boys a pet lizard he hides as a prize in a cereal box.

At least one of the things he does is really awful. He unexpectedly pulls an all-nighter at his job, and, because he can't find anybody to babysit with the boys, gives them crushed bits of adult sleeping pills. They go into a deep sleep and cannot be awakened. This lasts for several days; it could have lasted longer. A doctor friend who comes in explains this and says if he weren't a friend, he'd report this to the police. The really creepy feeling this incident gives you lingers on. But it ends happily. The boys are fine. And that goes for the whole experience, though this does not make Lenny's nightmare parenting techniques okay. The film is meant to arouse contradictory feelings and express the filmmakers' own mixed emotions toward their real dad.

Watching Lenny is like witnessing a train wreck but Bronstein is very good at keeping you from hating him. So are Benny and Josh, filmmakers, of course, who made this out of their own childhoods with a wealth of conflicting emotion. Their artistry and luck pay off in how complex the feelings are that Daddy Longlegs evokes. The film (and the collaboration with Bronstein) are a triumphant combination of cool reason in the planning and warm emotion in the making. Having had two brothers in charge who have that contrast -- one more logical, the other more romantic -- also doubtless helps maintain the fertile balance.

Lenny is more like a hyper older brother than a father, but that can be a lot of fun for little boys -- for a while anyway. Most of the year Sage and Frey are with their mother (played by the young actors' real mother -- wife of the lead guitarist of Sonic Youth), who, from what we see of her, provides a grownup and sensible environment.

But it's to be noted that Josh and Benny Safdie made this movie, about this riskier side of their experience, to evoke their childhood. Happy families are all alike -- the small, crazy part of your youth spent with a divorced parent may be more memorable and complex and stimulating to the art that goes into making films than the safe, grownup, responsible part that nurtured you and protected you and kept you sane. With divorced parents, you have two different worlds you move between; the "happy"-"unhappy" distinction may not apply. The distinction might better be "safe but a little bit boring" versus "unsafe but wild fun."

The Safdies have made clear that Lenny is an original creation, based on their dad, but built up very much in collaboration with Ronald Bronstein, who, though to them he looked remarkably like a classic silent film actor, was not an actor at all but a filmmaker whom they met at Austin's hip SXSW festival where they were all celebrated for their work. They sat down with Bronstein for days of talk in a diner where they hashed out all their ideas about their father and learned what Bronstein could internalize and what he rejected. Thus an improvisational collaboration grew. Bronstein worked constantly with the Ranaldo boys, always in character (a kooky new play dad) even when they were not shooting. Another element was the Safdies' and their team's guerrilla street film-making techniques used to incorporate non-actors along the way. "If Jean Vigo, John Cassavetes, Buster Keaton, Woody Allen and Charlie Chaplin had a deformed child, we would be their best friend," the brothers told Interview magazine recently. This is a richer and more deeply thought-through mix than we usually get from Cassavetes' youthful Mumblecore offspring, a more intense mining of memory and experience.

Interviews with Benny and Josh show a bright and happy pair of young men who finish each other's sentences. It looks like they grew up just fine, their time with their real father having taught them to be alert and resourceful. Those dangerous, irresponsible weeks were a pebble that produced a pearl.

I'd seen several short films by the Safdie brothers who made this movie as well as the their features The Pleasure of Being Robbed and Good Time. I liked all of them, but I didn't necessarily love them. But I figured that this one would at least be worth watching, and boy was I right! From the very beginning it's wildly intriguing and entertaining, and it just keeps getting better. It feels so very real and very raw.

In a lot of way it feels just like a John Cassavetes film, which is definitely a good thing. And it doesn't feel like someone set out to try to make a film in that style, but more like they just tried to make this raw, realistic portrayal of a very interesting character, and that was how it turned out. Almost like the Cassman did it himself!

And the lead role, played by Ronald Bronstein, was seriously great and fun to watch. That guy should be in more stuff. He was perfect for the part and I'm guessing that it was probably written for him. It was honestly one of the very best performances I have seen in the last ten years. And it never lets up.

Watch this movie if you can. You won't be disappointed. But if you somehow do end up being disappointed, maybe go check out something with Chris Pratt in it instead; that may be more your speed.

Only 1 year after Josh Safdie's directorial debut, came the first true collaboration between Josh and his brother Benny, and it sure is noticeable. Daddy Longlegs is a perfect combination of Josh Safdie's raw tone and passion for storytelling with Benny's creativity and comedy. While they could have used the bigger budget and crew to make a more stylised, traditional Hollywood film, the Safdies have instead opted to perfect the formula that was used in The Pleasure of Being Robbed. That film's raw perspective with a hindered believability is now a completely realized and believable world. The film is so convincingly documentary, in-fact, that it becomes almost impossible to even begin to imagine the process of writing it - absolutely everything feels improvised.

All of the acting is great, especially by the kids. The brothers had to go through a very unique directing predicament: dealing with child actors, yet they handle it masterfully. Under the direction of the Safdies, the kid's youth and inexperience somehow makes them all the more believable. It seems like in order to get good performances from all of the actors, almost every piece of dialogue had to be improvised, with only what happens in each scene being decided beforehand.

The result of all of this is a movie that makes the audience feel as though they are spying on a family, that they are watching a document of something private and personal, something not meant to be seen. The intermittent tension from the father's temper and recklessness is greatly aided by the raw, documentary approach. It doesn't feel overly dramatic or cliché, but instead gives off a much more relatable feeling that both parents and children can understand, and very much fits the unromanticized nostalgia of the story. Daddy Longlegs is a character study that feels not as though it were a study of a character, but as though it were an objective documentation of real peoples' lives, leaving it up to the viewer to make a study of what they see.

Go Get Some Rosemary (also titled as 'Daddy Longlegs') is a truly great film. It pulls no punches and shows the mark of some truly great up and coming filmmakers in their earlier days. It also features a wonderful and memorable performance from Ronald Bronstein, who also co-wrote the film.