The Disappearance of Eleanor Rigby: Him

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.

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.

It's very odd how much The Disappearance of Eleanor Rigby: Her gets right that Him just can't measure up to. I'm not sure whether it's because I watched it second, but it's way more clumsily executed. While it does pay off a lot of things set up in Her (and I imagine it'll work vice versa) when it offers an alternate perspective on a scene, that's its only strength. Where Her approached sappiness with its insights on romance, Him too often breaches that mark. It's a more lightweight film, which comes with its own delights with Bill Hadar and that subplot, but moments which elicited tears in Her revisited here had little effect. I'm sure that's not a case of diminishing returns. McAvoy is reliably great, not quite as good as Chastain in Her, but again he bolsters the material. The problem with this portion of the pair is that it paints Eleanor Rigby in a very unappealing light, one I hadn't even considered with Her. Here, I don't see why he's chasing her so much. Nevertheless, Him is still a very good film for when it does hit the spot, just doesn't match its counterpart.

7/10

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 Disppearance Of Eleanor Rigby (nothing to do with the Beatles song except a brief reference by a character) is a thoughtful, exceptionally well made film about a couple dealing with an immense tragedy that has put a weight on their relationship, forcing them to take some time apart. James Macavoy, an actor who continues to impress, and Jessica Chastain, always amazing, play the two with diligent feeling and palpable hurt. Now, there's three different edits of the film. His, which is mostly his side of events following the breakup, where Macavoy takes center stage and we see his life. Hers, which shows us where Chastain ends up, and how she is coping. The third version, Theirs, is a truncated version of both stories, leaving out a lot of key scenes and important beats. His and Hers together come out to about four hours of movie watching, but if you're going to invest yourself in their story, you owe it to you self to watch them both, starting with His. Because there is four hours of their story, they are allowed to develop and interact in a fashion that feels far more genuine and lifelike than a rushed two and a half hour movie. Macavoy is an aspiring cook who runs a small café with his friend and sous chef (Bill Hader, fiercely funny) and yearns for Chastain, angry at life for throwing them the curveball it did. He moves in with his father (Ciaran Hinds gives phenomenal work), a successful restauranteer. Chastain moves in with her folks as well, played by Isabelle Huppert and William Hurt. Hurt, who hasn't been around that much lately, makes up for that by anchoring a key scene with Chastain. It's interesting that he gets to play her father in a film, because they both share a measured, baleful, hypnotic grace in their work, and seeing them interacting was a treat for me, being an immense fan of both their work. Now, the film is more than the sum of its parts, but I mean that in a good way, since the parts themselves are so brilliantly done as well. It's what we expect from the romantic drama Avenue, but because we see an extended fluidity to the work, a narrative free from the fractured conventions of usual editing styles, we feel right there with our two protagonists, every step of the way. More films should break the mold and try to be more than just segmented movies, and use immersion techniques like this to draw us in. Coupled with that unique method of delivery comes a sincere commitment from actors and director alike, to explore an aspect of life and relationships that many see as unpleasant or upsetting, yet can still make for beautiful work. Well worth a watch.