Molto forte, incredibilmente vicino

Extremely Loud and Incredibly Close is a film that haunts you all day after the closing credits. I just watched it this morning, Sept. 11th, 2012--weeping continually, which is not a typical reaction from me. Powerful stuff.

The story is about a child who lost his father in the World Trade Center attacks on that fateful day in our country's history. It is his journey to reconnect with his father's memory by going on a quest to find the lock that fits the key left mysteriously in a vase in his father's closet. Along the way, this shy and sensitive boy Oskar is forced to meet and interact with a range of citizens, and to hear their stories too.

More importantly, it is about connectedness. It is about realizing that you aren't alone in your pain, and learning how to reach out to others for help and comfort. It is about realizing that your alone-ness is an illusion.

I loved, loved, loved the chemistry of the father and son in the flashback scenes, loved the delightful and unconventional expeditions they embarked upon, and enjoyed coming along with Oskar and The Renter to solve the final mystery of the key. I thought that the child actor playing Oskar was wonderful in this breakout role; he carried the movie quite well, almost singlehandedly-- except for those scenes with Max Von Sydow's silent character, The Renter. Of course Von Sydow stole the show, and totally deserved his Academy nomination. In all, the actors were brilliant and compelling to match the heartfelt script.

Yes, there was a certain amount of emotional manipulation involved in this tearjerker (what else could you expect from a Sandra Bullock production nowadays?). I can overlook that and wholeheartedly recommend EL&IC to anybody as possibly the best "9/11" film to date.

A fair warning before you step into this 9/11 drama based on the acclaimed novel by Johnathan Safran Foer- the protagonist, a nine-year- old boy living in New York City, isn't someone you'll embrace easily, even though the fact that he had lost his father in the Twin Towers should win much sympathy. Indeed, while we may accept a certain degree of immaturity from the kid due to his age, it's appalling to hear him say that his dad- whose body like the thousands who perished was never found- might just be 'dog faeces' in Central Park, or that he wished it was his mother who had lost her life instead.

Oskar Schell (played by newcomer Thomas Horn) is rather the abrasive kid who is both precocious and socially awkward- though test results on Asperger's syndrome turned out inconclusive. One year after that fateful day, Oskar steps inside his father's closet and finds a key inside an envelope with the name 'Black' scrawled on the front. Thinking that it might be one of his father, Thomas' (Tom Hanks), elaborate puzzles he used to concoct in order to force his son to interact with people, Oskar sets off on a personal quest to track down the source of the key.

Equipped with a backpack of essentials- including an Israeli gas mask, 'A Brief History of Time' by Stephen Hawkings, and a tambourine that he uses to calm himself amid the din and bustle of the city- Oskar traverses by foot through the five boroughs of New York knocking on the doors of everyone with the last name 'Black' he can locate in the phone book. Some of the people he meets include a married couple (Viola Davis and Jeffrey Wright) on the verge of divorce, a religious woman who offers up Oskar's mission to God, and a transsexual with a lifestyle too wild for Oskar's comfort- it takes all sorts to make the world, and if each of these attempts turn out futile, it at least fulfils his father's hope that Oskar will learn to be more sociable.

Each encounter is also an affirmation of the collective tragedy that was 9/11, as Oskar's story moves those he meets to concern and compassion be they survivors or mourners. The unanimous display of empathy is poignant, reaffirming humanity's ability to unite behind grief and loss. But screenwriter Eric Roth makes this journey as much about the mutual heroism of New Yorkers trying to make sense and come to terms with the senselessness and devastation as it is about an individual family's struggle to recover from the very disaster.

Just as affecting therefore is the examination of the effect that Thomas' death has on the dynamics of the family- the mother Linda (Sandra Bullock) coping with her husband's passing while trying her best to win the understanding and love of her son; and the grandmother (Zoe Caldwell) thrust into an uneasy position as Oskar's confidant even as he rebuffs his mother. Oskar also forms a connection with a certain mysterious Renter (Max von Sydow) living in his grandmother's apartment, whose willingness to accompany Oskar on his trips belies a painful secret and a deeper personal motivation.

No stranger to heavy-handed dramas, director Stephen Daldry (his fourth feature after the critically acclaimed 'Billy Elliot', 'The Hours' and 'The Reader') handles the potentially histrionic proceedings with surprising deftness. Especially heartrending is Linda's predicament- a scene where she breaks down from hearing Oskar say the words 'I love you' just outside the main door after he leaves in a huff is particularly touching; while a plot twist late into the movie that shows the extent of a mother's love for her son will leave only the hardest of hearts unmoved. Bullock is uncharacteristically low-key but very effective in the role, her heartbreak keenly felt through her grimaces and tears.

Daldry also gets an excellent performance from von Sydow- with wordless shrugs and sighs, he effortlessly conveys his character's troubled past, one so traumatising that he has chosen to remain silent and relate to others with a simple 'yes' on one palm and 'no' on the other. And at the heart of it all is Thomas Horn's mesmerising turn, the 'Kids Jeopardy' winner utterly captivating as the bright but socially inept kid trying desperately to cling onto the one thing that he thinks will help him remain connected to his deceased father.

Appropriately then, the film has been nominated for Best Picture honours- though amongst the nine nominees this year, this is probably the lowest rated overall by critics. Many have criticised Daldry's mawkish sentimentality for undermining the material, but in truth, we thought there was much restraint and nuance in his method. In fact, Daldry deserves praise for preserving both the poignancy and pathos of his source novel, delicately portraying both the effect of 9/11 on a sensitive boy and his family as well as that of the larger community around him. True it takes some time to get to understand Oskar on his level, but the very fact that Daldry has retained the inherent eccentrics of his key character is the surest sign that this is not your typical maudlin 9/11 drama. It is stimulating to say the least, extremely tender and incredibly uplifting.

• www.moviexclusive.com

I found the main character very annoying at times. However, over time, this movie had enough touching moments that felt real and were gagné that in the end it was reasonably enjoyable.

The best parts were the emotionally intense scenes of which there were several. The subject matter automatically lead in that direction. What was important was that they were handled well and weren't too obvious or sappy or preachy, IMO. I don't normally cry during movies and I didn't, but I can see how someone could and there's something healing in that. There doesn't need to be any explanation for a situation for us to learn from it. Simply seeing other people deeply affected by disturbing things can make you feel less alone and give you faith in humanity.

People can argue and say nasty words and yet somehow communicate love at the same time through their body language. That brutal honesty that hurts the most usually comes from a very kind, sensitive place. It's interesting the kind of guilt we're capable of putting upon ourselves. The desperate fear that you're not a good person, that you failed somehow. You can relate to these characters and the way they feel. Death is one of those things that can be scary but which we often completely forget about. It's nice to have a primal emotion or fear brought alive by a movie in the right way.

Now some major weaknesses. The plot is stupidly ridiculous. Much of it is technically possible but doesn't hold up well to inspection. It's too cute and "clever". I hate when characters go out on misguided missions without thinking them through. It's been done. It's far more interesting to have intelligent characters who run into legitimate or unexpected barriers than simply allowing them to forget all logic at the outset. The plot involves arbitrary devices for creating interesting situations rather than letting logical actions by the characters naturally take them somewhere interesting. It's like bad magic where you can see it all a mile away and there are no surprises.

The boy's obnoxious and rude comportement were extreme and distracting at times. He was unlikable for long stretches. I can understand it in the context of him being deeply affected or lost or trying to cope with things, but it was still too much and the movie implied he was like that anyway because there was no contrast with his comportement before the events. Sounds like the book is much better in this regard. But it did affect me. Brought a little something out of me. Which can be rare considering how predictable I find the majority of new movies.

Although the main character is a young boy, it is not a children movie, and cannot be recommended to all families either... This boy has teenage emotions and adult attitudes, and most of his deeds or conceptions cannot be considered as examples for "normal" families. And how to distinct stubbornness from persistence? The plot - having a tragic/sad background - is rather uneven and some unrealistic moments (e.g. mother's assistance in searching), with trivial pre-ending and expected ending. However, the movie contains 2 excellent (Thomas Horn and Max von Sydow) and at least 4 great performances (Tom Hanks, Sandra Bullock, John Goodman, Viola Davis). Thanks to them, Extremely Loud & Incredibly Close is pleasant to watch, but I am unable to explain why I had a kind of internal discontent when the credits appeared... Perhaps too vast scrutinizing with general human topics? Still, this movie is for you if you search something different.

Saw this movie in the theatre and thoroughly enjoyed it.Recently saw it again on the movie channel and enjoyed it even more.The young boy was phenomenal,others were very good as well especially Max Von Sydow of course.Don't understand why people put down this movie, must be just complainers! I'll never forget where I was on 9/11 and can't imagine what it must have been like for New Yorkers.This movie shows many different people of the city in many different ways and I believe was very well done. I know the young boy was not a professional actor and its hard to believe he isn't, hopefully he might pursue the craft but I believe he wasn't that interested. Definitely a must see and probably twice to get everything out of it!