The acting is great. Yes, it may not be fashionable now, but the relationship of same-sex couples, among other things, as infertile, I will never be able to approve. For me, it's a substitute for true friendship that most people aren't capable of right now. Maybe that’s why I don’t quite understand the plot: either an attempt to legalize non-kosher connections and thus “save the world”, or justify the death of the actor, describing it as an accident, or both. But watching the actors still worth it. They're different here and it's worth seeing.
- Whose feelings do you know?
- Well, moms, grandmothers, dads. . .
- You're stupid, your feelings.
This is what was said in one Russian film the main character.
Dolan is on top, and like a real artist takes pictures of himself and his feelings, to scold him for it is the height of stupidity.
Artistic language and mise-en-scene - The film begins with close-ups that set its tone, who is the main character here, seemingly. The color scheme of the film, the constant rains seem to suggest sadness, staging with slow-motion shots, they are the main style, these are not films about superheroes, in which John F. Donovan starred, there are no special effects.
Actors and their play - It's one thing to shoot aspiring actors and make ropes out of them, squeezing out exactly what you like. Another thing is to call Katie Bates, Susan Sarandon, Natalie Portman - accomplished stars, to whom this Canadian upstart does not order. The appearance of Michael Gamball was a surprise. Why does Xavier call Dumboldor, but either he or Gandalf (Ian McKelen) was supposed to play a good wizard who most likely helped.
Ben Schnetzer and Keith Harington, we all know who we play. I’m not going to judge their game, I liked it.
The death and life of John F. Donovan is a very sad film for me, you are told from the beginning that the main character is dead, but in the end you see that the main character is happy.
Already in the second half of the film, it is felt because communication with the journalist warms up.
The scene of Chris Zylka and Keith Harington at the open door is one of the main ones for me. Zilka in a warm home light sweater, and Keith in a club jacket, she told half of the film.
I advise everyone.
The Death and Life of John F. Donovan is a heartwarming story that has been smashed by critics with a huge bang. Many consider this film the worst of the year, Xavier himself calls it a mistake.
The film tells us about an 11-year-old boy, Rupert, who lives in England with his mother, Sam Turner. Once he wrote a letter to actor John F. Donovan and they began a correspondence length of 5 years.
Rupert is a single child, the boys at school hurt him because he is new in class, and also a young actor.
Everything that revolved around his world was television and a show starring John F. Donovan, a 30-year-old actor whom Rupert not only admired, he idolized him.
John is a grown man, at the height of his popularity. He has a beautiful wife, a good home and a rapidly growing career. But he, like everything, drowns in this business, in this swamp of lies, which every day more drags him.
First of all, this is the English-language debut of the Canadian director.
Kit Harington, Natalie Portman, Jacob Tremblay, Katie Bates and unfortunately or fortunately, cut from the project Jessica Chastain in the lead roles. Despite the star cast, which at first glance can scare away, the acting is impeccable. She’s perfectly open, not squeezed anywhere, everyone played their roles as if they were these people.
In the scene when Rupert came home, immediately runs to the living room to watch his favorite show and he is so overexcited, screaming in front of the TV and can not restrain his enthusiasm. We've all felt the same way when you've felt it.
Kit Harington created such a correct image of a guy lying to himself about who he is, portrayed a problematic relationship with his mother in such a sensitive way.
The film is innocent, I honestly do not understand what is wrong with it. The plot has clear pillars of alignment, climax and tragic denouement.
This Hollywood, glamorous theme is almost not present here, it only flies in the air, just like a light veil, a veil before the present.
It reveals such important topics as bullying in school, which leads to lying to yourself, the suffering of a person who built his life, but “forgot to work on himself.”
As many say, the main trump card was missed, the subject of those letters, it was necessary to unfold it. And how you turn it around, it's not about that. The film is not about relationships, about friendship between a boy and a man. It's about where your dreams can take you, about the consequences.
Such touchingly piercing moments between the son and mother occur in both actors, breaking into a tear, for someone it was the beginning, and for another it was the end. The picture causes a storm of emotions, plunges you with your head. As for the timing, I do not consider it stretched, it is confident in moderation. ? ?
You can talk endlessly about such things as music and visual in the films of the Canadian director.
Soundtrack, of course, there is no need to think, great.
The work is excellent, with a large scale.
All I can say is that I absolutely disagree with all the negative reviews, I love this movie with all my heart.
From the first trailer, from the first lines of the annotation, the film is able to attract a non-standard concept that could transform a global battered problem into an inventive chamber drama. It was because of this intriguing concept, not the name of the director or the actors, that I decided to watch The Death and Life of John F. Donovan.
A popular actor enters into correspondence with a young boy who is able to understand him more than all close and family people combined. And they never meet; only write to each other, share thoughts, experiences, difficulties. One of these short plots makes my brain work, imagining what problems both characters would face in such a situation, what and how they would tell each other in letters, how society would react to it. I immediately saw in the concept of the film the makings for a masterpiece. That was enough to sit down to watch.
The first two paragraphs are intended to explain what expectations I had for viewing the tape, so that you understand the magnitude of my disappointment. Dolan took the story in a completely different direction, wherever no other director or writer would dare to take it. Above, I have briefly listed the various conflict options that could be developed within a given concept, but none of them is emphasized. Moreover, most of the potential of the idea is wasted and not revealed in the film.
At the very beginning of the picture, the phrase is pronounced: "For John, everything went downhill when things went uphill." However, the film never shows exactly what changed for John Donovan. It is tempting to call him the main character of the film, but this function is performed rather by a young friend by correspondence, who is now also an actor. And, yes, the important detail is that Donovan's story is told through memories, through the story of his grown-up pen pal. And all the scenes in the conditional present are twitchy acting, boring shooting eight and primitive dialogue. I wish that part of the film had never happened.
And not that the main story from the past was much better. The film is about anything but what the audience really wants to know. Sometimes you just forget about the correspondence between the characters, because this part of the inner world of the film is completely undisclosed and has no visible influence on the actions and thoughts of the characters. This concept, which was promoted as the main feature of the tape, in fact became an atavism, which the authors do not even know how to use.
And Dolan focused on the problem of homosexual self-determination typical of his films. And I have nothing against it and I think it is very creative. You can and should make a good movie about gay people. And Dolan himself has done it many times. But now the director is starting to repeat himself. And the problem is not even self-repeat, but that this particular film should have been completely different.
A boring story could be drawn by actors, or a soundtrack, or a visual, but the film is consistently boring in all its forms. Only one scene cut into memory - the cheerful cutting of shots of Donovan's glamorous life under Adele's most famous hit. And in everything else - absolute grayness and toothlessness.
Normally, I can still give a couple of points to anyone, even the most passable film, for a good and noble idea. But in "Death and Life..." the thoughts and the message are so vaguely formulated that I have never been able to discern the main idea of the tape. And that's an obvious script problem. Although the film is not annoying with logical errors, blunders and outright nonsense, but it is absolutely soulless, artificial and simply boring. I cannot name a single argument that could persuade an ordinary viewer to view this picture.
4 out of 10
': You know, I gave my whole life. I was doing my job, my career, my reputation. I was doing my friends, my family, all those things. The only person I haven’t given my time to is myself. Rupert, I wish you recognition and fulfillment in your life, yes. But most of all, I want you to live. To live, not to lie, because it inevitably comes down to that. For some artists, lying is the best part, and there are lies that I think are the most beautiful. But you're still too clean to lie. Because I know your dreams, because I know your aspirations, but I also know the disappointments, the loneliness, that you will inevitably feel. – John F. Donovan
A very deep and strong story. It was possible to shoot a real dramatic masterpiece. Canadian director Xavier Dolan is very talented. He has some interesting and intriguing films to highlight: such as 'It's Only the End of the World', 'I Killed My Mother' and 'And yet Laurence'. He is 31 years old, and the director already has a rich and deep list of strong films. I think there will be many more surprises from this brave director.
The story, titled ' The Death and Life of John F. Donovan' could have been the director's strongest and best film, the pinnacle of fame, but something went wrong. The film involved a huge number of beloved and respected actors who gave the drama power and power with their performance, but still the film seems dubious. The fact is that despite the touching and dramatic story, a chic cast, directing did not work out, and the film resembles porridge. It’s just the director himself.
Perhaps, the responsibility and pressure were high, so the film did not work. Such seemingly strong scenes, false does not feel, such an amazing game of actors, but unfortunately, it was not possible to put all this on the shelves and all cool to present to the viewer. The film seems to be filled with frames, scenes, and there is no consistency, foresight. In general, in the head of the viewer porridge. It seems to be such a sincere and tearing apart story, but they presented it to us raw and unfinished.
We see the popular television actor John Donovan. For the sake of popularity, fame and his work, he hides his sexual orientation. The hero lives in lies and pretenses, and deceives not only everyone, but also himself. He finds an outlet in correspondence with a little boy - his fan. They communicate in letters and pour out their souls to each other. A cleansing wave of truth sweeps everything in its path, and soon the public learns about John's secrets. These events become catastrophic for his entire life. . .
Dolan's most ambitious film, and most star-studded, turned out to be unfinished. I would like to take time back and reshoot everything: now the director thinks. It could have been a masterpiece. Even a shame, watching this movie to the end, I wanted more of it, more drama and that the director did it. It turned out only as if an attempt, and the film itself is average, despite the excellent, repeating the excellent performance of the actors.
Three American actresses who have an Academy Award for Best Actress Natalie Portman, Susan Sarandon and Katie Bates play supporting roles, and each was a pleasure to watch. All these actresses are respected, and give the picture a decent status. But who knew that this film still fell into the wrong hands, and could find a different life in the other hands of the Director. Everyone has misfires and no one argues. The director is now tearing hair on his head: hurtful.
The culprit of the story of John Donovna is played by the well-known Jon Snow in the person of Keith Harington, and the boy is played by Jacob Tremblay. The second young, but such a talented actor, and the guy is just good. As for Harington, he played here with his soul and with all the depth. It feels like watching. He penetrated his character and conveyed to the screen all his depth and pain. In this case, even due to unfinished directing, we felt the actor's play.
I think I was in a hurry with the film adaptation ' The Death and Life of John F. Donovan' and the film is British-Canadian. Perhaps if Hollywood had made it, the film would have been more successful. Because of the memorable history, the philosophical theme of truth and lies, society and cliches, as well as because of the scenes with the participation of all the above-mentioned actors, this dramatic film can be seen once, but do not expect a hundred percent return from it, the film did not turn out to the end.
'The Death and Life of John F. Donovan' is a 2018 Canadian-British drama. As a result, a high-profile picture with such an incredible story had every chance to claim a successful film, but the work of director Xavier Dolan did not succeed, but it was a pity. I am neutral about the film. Thank you very much.
Creativity of Xavier Dolan, or 12-hour commercial advertising
To begin with, I am in favor of people with a non-traditional orientation finally left alone, and that I am familiar with the work of Xavier Dolan from the very first steps of his director, and was sincerely amazed by the creativity, courage and fervor of a young artist who knows exactly who he is and what he can teach people.
Several paintings in a row were masterpieces in their performance. The layman just spit from non-standard kisses and rather closed the film, but we understood that this is an act of protest and a cry of the soul, hidden under ridiculous arthouse shots on the verge of catharsis, both for the director and for the viewer.
However, at some point, his movie became somewhat faded. Whether it was the fact that he, with his fervor and mission, fell right into the midst of the struggle for tolerance, or for some other reason, his activity became like pop songs with the same motive and words. Now it is no longer the cry of the soul that can be traced between the frames, but the pompous & #39; and so sap, this is what people now love'.
If earlier the main theme and thought of the author looked like this: ' I am special, but also around me there are special people, and I will tell you how we cope with it', now in his paintings there is only: ' I am special'.
Meaning of the headline. At the time of the beginning of his work, for the right to express such thoughts, it was necessary to fight, drama, vital, close to people was needed so that they could see themselves in the paintings and feel more confident. Now you do not need to put any effort to show the world your preferences, everyone around will climb into the closet for your skeletons and they will be ' funny ' Therefore, his work turned into commercial advertising. And 12 o'clock, because this is the total time of films about homosexuality, which perfectly managed to convey what the author wanted to say, and it became clear in the first three hours, and the remaining 9 hours is already as annoying, boring lecture, from which I want to get rid of and say ' Yes, I understand everything, can I go.'
We all understand, did a good job in his time, move on! But, something tells me, while this topic is at the peak of popularity, Dolan will not change his role.
A few words remain about this film. Well, everything is logical, the last frame was expected in the first ten minutes, the moral of the fable is the same as in the previous paintings. The film was not impressed, all the techniques have seen before. In general, just 'Xaviedolan' film, as painful and hurtful as it sounds. I hope that the next films will not cause a reaction.
- Oh, Dolan, I know what the movie is about.
- But you didn't see him, he came out last week!
- I’ve been watching since 2009.
5 out of 10 exclusively for the excellent performance of the actors, liked absolutely everything.
The days when Dolan worked for his reputation seem to have passed, and they have been replaced by the days when reputation began to work for him. And that’s not bad, because it’s an opportunity to bring something good to mainstream cinema. But like any creator who has emerged from the shadows of the underground, he ceases to be interesting. We are talking about the penultimate work of the director, which became his long-awaited English debut.
Perhaps, it is worth mentioning that the film itself is not bad, and we are talking here rather about a certain bar, which was determined by the past work of the director. As always, Dolan builds a plot on borderline forms of love and friendship between same-sex people. The plot tells us about the long-term epistolary relationship of the famous “prime time” actor and his young eight-year-old fan, who took a sharp public outcry and left an indelible mark in the lives of both heroes. The film turned out to be Dolanovo sensual, endowed with a magnificent visual style and delicacy - this cannot be taken away. The director knows how to deal with queer themes, not exploiting it, but developing from the most unexpected sides. It is noteworthy that being under the patronage of Gus Van Sant and having Queer Palm in his piggy bank, Dolan has repeatedly stressed that his directing activity is not a sapport of the LGBT community, and excessive focus on this public attention causes him only irritation.
The film is stretched to the size of a galaxy. The blurred image of Rupert is replaced by the no less blurred image of John, creating an unpleasant tension from attempts to keep up with the ornateness of the plot. The inconsistency of the scenes is complicated by the interweaving of sugary "Billy Eliot" farewells and inappropriate dialogue. The only thing that remains for the viewer in these 2-odd hours of screen time is to savor the name of the director, moving him in his mouth like a lollipop.
“Actor’s Ensemble”, consisting mostly of the old and new Hollywood guards, looks just went against the background of earlier works of the director, the success of which did not fall on the density of the star cast. Of the total mass, we can distinguish only the game of Katie Bates, who, being a very talented actress, has not found any more significant film regalia since the release of Misery. In tandem with Keith Harington, she was so organic and believable that her game completely compensated for the bland and uninteresting play of her partner. Keith, who had not had time to jump out of the medieval pants of one John, with whom he is closely associated with the public, jumped into the couture pants of another. Natalie Portman, being the performer of one of the main roles, could not prove herself properly, and her gaggy wig had more acting potential in this film than the same type and ordinary game.
The soundtrack, consisting of the most recognizable compositions of the top mastodons of the world pop scene, resembles a playlist called “guilty pleasure”, and causes many personal, unrelated to the film associations.
The main problem of the film, in my opinion, was its qualitative saturation, and, as a result, the inability to cope with such a volume of initial data, forcing them to work under the + sign. Xavier himself, according to the interview, considers the film his mistake, and everyone has the right to make a mistake.
The journalist comes to take an interview with a guy who at one time became famous for being at the center of a scandal at the age of eleven - he corresponded with a very famous actor, John Donovan (which is very ironic - the pseudonym John Doe in the US refers to all unknowns, for example, suspects, until their identity is clarified). The plot immediately tells us that the whole film will be quite conversational, but I was completely unprepared for the way it was presented.
Over the past few years, this film is probably one of the best in terms of dialogue in my personal standings - when a journalist and a guy are thrown barbs, goosebumps walk on the back. It feels like I haven't read a book in ten years, picking up something very good, and thinking - ' God, I forgot how great it is to read'
And, yes, you are reading this picture. The cameraman and the director create their professional magic, and as a result, the story is built not on the retina of the eye, but directly in the head - a brick of emotions, a brick of frames, a brick of music ... For the whole two hours, you just sit there and you just want to keep it going.
Best of all played, in fact, the journalist (Tandy Newton, known for the role of Maeve, the owner of the brothel from ' Wild West World') and the boy - Ben Schnetzer, nowhere before strongly shone. All second-rowers are also good, but against the background of the main ones do not reach - even Natalie Portman. Well, Kit Harington still plays the ignorant Jon Snow - for which we love.
This story is about loneliness and understanding. The Prejudice of Society and the Price of Fame. About human relationships, about sincerity, and about the kinship of souls. I admire how delicately Xavier Dolan treated such a fragile material. Considering that people who have watched all his other films say that Donovan’s Life #39 is not his most successful work, I am delighted to be perplexed. After all, if this is not so remarkable, then what is waiting for me in his best films?
8 out of 10
A touching story, remotely reminiscent of ' American Beauty' but with a much greater focus on friendship. Be sure to watch if you want to savor live dialogue and worry about living human destinies.
Exactly skip, if you do not like when the whole film is chatting, and in general you just realized that you read this review in vain, because in this film men kissed.
P.S. This film would have received at least half a point from me, if not for the fact that the song 'Bitter Sweet Symphony' I did not associate so concrete with the film 'Cruel Games'
Now I come to the idea that we are not entirely alone, some people are lucky and meet on their way other people like themselves, those who are able to approve, sympathize or even help.
In the work of the Canadian director Xavier Dolan 'The Death and Life of John F. Donovan' find a common language American actor John Donovan (Kit Harington) and the 11th boy from the UK Rupert Turner (Jacob Tremblay), they become real friends by correspondence for several years, and trust each other their secrets.
It turns out that the TV actor suffers from mental problems, in public he has to put on a protective shell, create the illusion of fortification in life, but this hides a very great vulnerability and fragility. All the many feelings and experiences are expressed in the letter - non-traditional sexual orientation, problems with psychotropic drugs, misunderstanding of the mother (Susan Sarandon), doom to be content with a darkened image of the world, which created his own thought to himself in agony.
The young fan also suffers - bullying at school, a difficult relationship with his mother (Natalie Portman), absence of his father. That, the only and secret that comes from inside him, from the bottomless and amazing depth of a strikingly unchildish soul - the desire to act in films.
Just a few years ago, a cult grew rapidly around Xavier Dolan among young people, critics, representatives of the festival jury. After all, it is an amazing phenomenon when a person shooting the first feature-length film at the age of 19 immediately shoots in Cannes. And now, the last few works with a stretch can be called artistically successful, where the same themes and techniques are used.
Before the opening credits, it seemed to me that Dolan decided to change himself, but as soon as the voice of Adele and dark blue pictures were replaced by the ruthless world of show business, the typical Xavier rose. Past extravagance is perceived now as old dust on the piano, and it seems that new themes are not added, from tradition to the finale of the picture you begin to frown.
It seems that the director himself realizes his banality and, as a punishment, refuses an invitation to Cannes, exhibits a picture at a festival in Toronto, and still completely cuts Jessica Chastain from the film.
What positively saved Dolan is the setting of the frame, tricks on faces and gestures, trimming the back of the head, emphasized views, exemplary proportions.
Honestly, I will say that personal crises and self-doubt strongly poison my life, so I love to meet these topics close to me in the movies, why I like the plot of the picture, and if you draw an analogy with the dramas of recent years, then ' The death and life of John F. Donovan' a strong tragedy, but I would like to perceive it more sensitively, I did not feel its taste, because this is even a favorite dish, but I was presented it too often. But everything is not so unsuccessful, because watching has left me hope for a dream and reciprocity from others.
Film for connoisseurs of the work of Xavier Dolan (and this time not only)
I don't think I'm going to be objective, because I love Dolan's movies too much. And yet, even if you make an effort and abstract yourself, look at ' The Death and Life of John F. Donovan' through the eyes of a simple layman, who ' bypassing the crocodile', you fall in love with this film at least for the visual component. Here, every shot is a pleasure for the eyes: warm tones chosen by the director himself, saturation, energy, a reverent attitude to detail, to small things, which are constantly emphasized by close-ups. If you turn off the sound, of course, you lose a lot: a bright soundtrack that harmonizes with individual scenes, live dialogues in which the characters, as usual, come into conflict and through which they love. But even if you turn off the sound, in any case, the picture will remain, and it will amaze you with its beauty. And this is the case when you watch a movie - a reflection of the reality in which you live - and slowly begin to fall in love with this very reality, which you do not notice in its nuances, because you have existed in it too long and have forgotten how beautiful it is in its simplicity. . .
We all grew up in our homes, went to school, dragged away from idols, dreamed, and if we didn’t lie wet with rain under a leafy tree in reality, then at least mentally it happened to us. And all of this is routine for us. But you look at her through Dolan’s eyes and you feel deeper, and everything that happens to you in your life suddenly starts to play with new colors. . .
So strange, the film is not about something supernatural, it is not fiction, not fantasy, but the impression leaves the most magical. Here is a fairy tale about the friendship of a man and a boy, two heroes from different worlds. And maybe not a fairy tale, maybe a real story, then decide for yourself. And this understatement also does its job: to the last doubt, were those letters true, or were these all fictions of a small traumatized child? And the viewer of the mystery loves, do not feed him bread. . .
More touching. That’s what sets this movie apart from Dolan’s previous creations. Previously, there were local stories within the family and household disputes (the exception is my favorite & #39; Tom on the farm & #39; but there are their own frameworks), and, undoubtedly, there is no equal to Xavier in displaying the depth and complexity of family ties in all their manifestations. Only this time things are somehow better: everyone reconciles, everyone finds mutual understanding. Catharsis. And the story itself goes beyond all possible limits - take at least the fact that this time we are dealing with not one, but two storylines, plus the events unfold not just in the same house / on the same street / in the same city - but in the UK and the USA. Not to mention the scale.
And yet the style is the same, the chips are the same - Xavier does not change himself. And this story is not about how the director got to the budget and began to rivet impersonal films for the masses. This is a story about a tangible step forward and up.
' The death and life of John F. Donovan' is a unique thing. Few films with such an accurate hit in this narrow genre, which is not enough to call 'drama'. It is a genre of life with all its ups and downs. And I like it.
I didn’t want to be too banal and say that this is another masterpiece of Xavier D.’s personal life, but everyone has their favorite director, whose name you want to say in a friendly conversation, so that few people know his work, so everything is forgivable. The death and life of John F. Donovan delved deeper into what the young director wants to lead to, into the story of his life and his experiences. Although he is not young, but the beginning and results of his work forever cemented this status for him. I think his films are more about understanding the moments in life that Dolan wants to understand and resonate with his audience. But perhaps I misunderstand such coincidences because his stories have already happened to us at one time or another.
The film is about two lines of life, their interweaving, influence on each other (although, of course, the adult dominates over the nursery more), however, it was the line of adult Donovan that was interesting to me because if I wanted to see a film about the experiences and aspirations of teenagers, it would be a different film (although the film is not about that at all). There is a lot of food for the mind and too many details that ultimately fall on the main character. Too many topics are raised in such a short time that in the middle of the film you just have to choose your favorite (family, fame, self-deception, self-destruction, and this child with his problems from mother to school).
There. I clinged to one dialogue that touched me the most and inspired me to tell my stories on social media, which are like spilled water.
“But most of all, I want you to live, to live, not to lie. It all comes down to that. I could not have dreamed of a more attentive interlocutor.
- Hello.
- Hey. Amm...
- I'm sorry, I should have called.
- Nothing. They came by bus for the weekend. I need to take them home for my brother's birthday.
- Wow. Great. Cool. Can I come back later? I don't know if they'll stay, but we could have a beer or something. I... I want to talk to you.
- With me?
- Well, yeah.
- Look, me. All of it. John, I like you, I like you. But this, this whole story. All these pictures. All these... I don't know.
- Are you ashamed of yourself?
- I don't, but you do. Sorry you didn't answer when I called.
- It wasn't the right time. I'm...
- Look, it's okay. Okay? Look, everyone does what they know. Yes? I am young and I know what I want. And who I am. And being someone's secret affair isn't what I'm looking for. You know? I would have let you in, but...
- Nothing.
- Sorry.
Barbara Hagermaker once said in an interview on one of the programs about successful women that her greatest failure was not that she left John, but that she did not know him. When his illness, his past, when the whole truth about him came out, many felt the same. But what should we know about the artist? What is he supposed to say about himself? Why is this important to us?
For now I need to sleep, I just wanna sleep and start over.
Before us is Xavier Dolan's first film with Hollywood actors, aimed at the masses, his English-language debut.
Xavier does not change himself, and as always, his favorite theme is non-traditional orientation. This may not be his best film, but it definitely deserves attention, especially if you have been following the work of this director for a long time.
The opening scene sets intrigue: who was Donovan, what was his life and his death. John Donovan is an actor, he has his own secrets, and like most public figures, he tries to hide the details of his life. It opens only to an 11-year-old boy, with whom he corresponds through letters. Once the letters get into the press, and then for Donovan begins not the most favorable period.
Kit Harington is pretty convincing and has no associations with his famous role as Jon Snow. However, his character John Donovan is quite flat, and we are not exposed to the blueness of the problem, and all the experiences remain superficial. But it's more about the script, not the actor. Keith survived as much as he could from this plot. Natalie Portman also got a rather superficial character, and if she was played not by Natalie Portman, but by some other actress, less famous or less talented, perhaps there would not even be a difference.
Xavier’s whole film is trying to tell us how important it is to be yourself, to be honest with yourself, to accept yourself. But unfortunately, that message lacks global depth in this film. And it seemed that the film played a very banal problem. A public figure who hides her sexuality in order not to lose her reputation? Maybe that's what Xavier was betting on. In Hollywood, every second person pretends to be straight. But we love Xavier not for banalism, but at the same time we are ready to forgive him such a job.
Despite the fact that the film does not reach previous heights, it is interesting to watch it, and in general, the film leaves positive emotions. Just something was missing. There was not enough emotional shake-up, a little more drama, a little more depth.
So if you are a fan, then watching this movie will definitely not be superfluous. If this is your first Xavier Dolan film, you should probably start with something better, like Imaginary Love.
7 out of 10
“How could you take someone’s place when it was already meant for you?”
A young actor and writer Rupert Turner decides to publish his correspondence with the deceased star John F. Donovan. Even after all this time, Turner tries to bring to the public what the talented man was so lonely that his only friend was an unknown little boy with whom he exchanged letters for years. The truth is that the price of fame for Donovan was too high for other reasons. . .
Open gay, screenwriter, director, laureate of European film festivals and simply the hope of a tolerant society Xavier Dolan in his new film again hits his favorite themes, but in the end comes to depressing tastelessness and creative impotence. Dolan, sadly, is crucifying his own viable idea. To fight with logical holes, ragged narration and disparaging artistic techniques does not help either an impressive caste or a fashionable picture.
The story is built on the details that benefit Dolan, but not for the sake of common sense. Adult Turner, who is positioned as a writer, should speak not in his book, but in an interview with an abundance of memories and explanations. A journalist dealing with issues of global ecopolitics, this story is not necessary because it is banal not her profile, but director Dolan, following the scripted formula of more successful examples, makes the character for an unknown reason becomes more interested and compassionate. To shoot another era, you may want to, but it is difficult and expensive, so the problem of hidden homosexuality of Donovan is removed not in some intolerant 1976, but in 2006, where the atmosphere can be conveyed using a clamshell phone. True, bullying in the world of showbiz now consists not in the fear of losing reputation, work and at worst life, but in the fact that the hero will be surrounded by oblique glances and gossip in the yellow press. Problems with the theme of motherhood at the director have long become a hallmark and wander from film to film for a good decade, but the creator is difficult to understand that the author's handwriting in semantic load is not equal to self-repeat.
In the narrative there is no integrity of the word at all. Several story arches consisting entirely of flashbacks are at least difficult to perceive. The stressful notes in schizophasic dialogues appear literally out of nowhere and disappear into nowhere. The climax is so ragged that it is even difficult to determine when exactly it occurs. Musical design is similar to the constant aimless switching of radio stations - the effect is at least strange. Close-ups are so large that faces barely fit into the screen. This is done for no reason – there is no intimacy.
The huge problem with Xavier Dolan’s work is that even within his motley minority, he doesn’t see a fundamental difference among generations of homosexuals. His character Donovan is an old formation that perishes under the yoke of its own mystery while Turner enjoys life because of his openness. However, Dolan doesn’t make a complicated movie about the Stonewall riots and doesn’t seem to understand the struggle. Growing up in the era of glasnost and the Internet, he used to rivet simple film crafts on his knee about his problems with his mother and boyfriend, passing it off as a daring challenge to the whole world, but sincerely wonders why it does not go to the public for the hundredth time in a row. LGBT freedom here is formally devalued and is exactly reduced to the hugs of two gay men leaving on a moped in the sunset.
Keith Harrington after his resounding success in the notorious series “Game of Thrones” decided to distance himself from the usual image of an impeccable hero and try himself in a difficult dramatic role. The exit from the comfort zone turned out to be successful: Harrington in the role of the confused Donovan in every sense is good from the first to the last frame. Perhaps that’s because he’s the only well-written character whose story predisposes to empathy. Tremblay’s young talent after several successful roles barely reaches its own level and at the end of the film causes barely restrained irritation. The murky images of alcoholic mother Sarandon and unlucky hysterical mother Portman look repulsive and almost offensive. The decision to cut the negative character of Jessica Chastain from the plot is to follow the best traditions of the Tommy Wiseau film school.
The Death and Life of John F. Donovan is a long, pretentious and stupid spectacle that can only touch the hopeless fan Xavier Dolan. Incompetent parasitism on the topic of the LGBT community under the sauce of a lyrical story about the friendship of an adult with a child.
Correspondence worthy of reshooting, or How a talented Canadian bit himself by the tail
Something like that happens to directors after their careers have taken off. Well, you know, they either go bad, or they try their best to hold the bar (almost always half-successfully), or they go crazy to find themselves again. Dolan fell into the second category.
The Death and Life of John F. Donovan is too much. And some of that is good. In some places, a rather controversial acting game is compensated for by a familiar, beloved style, where super-close plans, special color correction, charming attempts of the heroes to survive and agree in a world where gossip and misunderstandings are one of the sharpest tools, are conductors in a somewhat sentimental-fairytale, exaggerated-conditional reality, perhaps replaying with the expression of basic moral overtones, but even this replay pushes into the light of God is very tolerable. The author still shows love and sensitivity to the created characters, with the accuracy of the notorious pedantry, transferring a significant part of it to the viewer, who, by virtue of the activity of his own similar feelings, decides whether he can empathize with people on the screen. As the queue of positive reviews shows, it still can and even does so, closing its eyes to many annoying flaws.
The Death and Life of John F. Donovan is too much. And it's kind of bad. The theme of the importance of the mother in the fate of the hero, salted to a state of slime, no longer affects, as in past works. The problem of homosexual self-awareness also seems outdated, unnaturally strained, rather annoying. The promising conflict, which is based on the attitude of society not even to the immorality of this or that unusual phenomenon, but simply to the secrets of other people's fates, in fact turns out to be a rather weak lever for revealing the remaining lines, inscribed in the scenario for greater importance, but excluding this very importance through its glossy and superficial view of human relations, presented allegedly in reverse. What do we see in the climax? 39 The problems of ordinary people are no worse than the problems of dying in war, because the world is common and the pain is often the same. Is that a sign closer to the end? So, with a bitter plum in half. What are we looking forward to in the final? Everyone believes in something, but something strong. And yes, the story seems to have a logical conclusion, but the dots are so tastelessly prosaic that the denouement seems to be merged absolutely into nowhere.
Two too many Dolans collide in the same territory, but neither the first nor the second knows how to create the most coherent duo, without looking back at time and mores. Time and customs, unfortunately, do not stand still. Xavier’s early projects came out with periodicity about once a year, and to many he seemed a festival prodigy capable of touching those strings of the spectator’s soul that the viewer himself feels not every day. “Death and Life” turned out to be too long-awaited, long-suffering and tortured picture, from which fans of the director wanted to fulfill their promises, and only then – the story itself. And if you cast stars like Jessica Chastain, Bella Thorne and Adele, and then remove them as if nothing had happened, it seems like a failure rather than an achievement. And if you claim the subject of the script sharp questions about how people can perceive friendly correspondence between an adult, a famous person and a small, but kind of there is a very outstanding boy – it is not profitable to turn a potentially strong drama into a masquerade not so terrible, but only in the autumn sad situations that cause in the cinema instead of tears only attacks of pseudo-melancholic grin. And if a bright style mixed with past merits can defeat a good plot – it is clearly not a coin from the treasury of normal strategies of creative thinking.
Dolan chewed himself ten times and spat himself out to the masses, but even among the masses the thought of the inconsistency of such statements had long matured. No, the film would not be so superfluous for those who are not yet familiar with any of the creations of this author (although not the fact that would cause special delight). However, for me personally, who has followed Xavier all the way from the first to the last film (including a couple of very good clips), “Life and Death” pushed the bar of quality down – not to the bottom of cinema and not even to the bowels of all its upper shells, but somewhere close, somewhere in the passing territory.
If this film had not been made, the world would have lost nothing. Let this not be the worst example of its genre (and sometimes even quite watchable), 'The life and death of John F. Donovan' noticeably inferior to everything that surprised the audience is not so young and prodigy Xavier in his best years.
General impression: We live in a time when literally in every TV series / film there is a place for gay couples or a person of this orientation. And this movie was no exception, so what is it, the director of the picture is openly gay - and can you compare the thread of the narrative with a certain biography? Why not?
GG Donovan (Kit Harington) A famous person, an idol of many, success is synonymous with loneliness, he has to smile in public, show that he is happy and gets the most pleasure from acting, but as soon as the scenes go down, he is a depressed person with his mental disorder. And what we see from the title of the film – “The Life and Death of John F. Donovan” and we are told about it, only alas superficially, smoothing everything out with a cocktail of stories about a sad childhood (the hero grew up without a father), arguments with his mother, and tart loneliness, because it is not so easy to reveal your orientation, to tell who you really are. And frankly, the hero is not sorry at all, because he is one-sided, there is no versatility as such, we are told about human psychology with templates prepared in advance and this is a mistake.
But let's go back to one of the central characters - Rupert Turner (Jacob Tremblay in his youth, Ben Schnetzer in adulthood) it was with him that a lot began, namely Donovan, such a lonely, poor, unhappy answered the boy's letter. And these two different people began correspondence (!) in a boy of 11 years and an adult uncle of 30 years. I will never believe this, this is not the norm, this is not ordinary, and the fact that the hero found a kind of outlet in the boy entailed a number of irreversible consequences from suffering, ruined the life of both himself and the boy. What we are given for decency and supposed adequacy is essentially ordinary profanation. And there is no ode to loneliness at all, and no acceptance of oneself in all (although this is the case). In black and white, homophobia is not good. Why not? Yes, because in addition to the fact that the protagonist is gay, a gay director, the dialogue of his mother, who says that it does not matter with whom the boy is paired, so also the gay Rupert himself, who became him. I mean, the consequences are, you know, not the norm! It's like being told every day that you're a fool and you're going to be a fool. I'm for heterosexual relationships, the ones that are inherent in nature. If someone likes to love their gender, that’s their business. But when do the kids weave in?! Are you serious?! No word...
Of course, there are pluses in the film - 1. Visually very beautifully shot, many different angles of shooting, a lot of panning, great color correction. 2. Acting, and the whole film is dragging Jacob Tremblay, the boy will have a good future if he does not go where not necessary. And Harington disappointed me a little, he is here for some reason again Jon Snow, either not departed from the role, or simply does not know how to express otherwise. 3 The abundance of various musical inserts accompanying both simply known sound and musical instruments fill the tape with a good sound.
As a result, the tape is good in technical terms, but bad in the script, because it is not quite a drama about the misfortune that happened to the heroes, it is an ode to gay love, and the finale speaks about this ... but how sorry, because so many themes are twisted - fatherlessness, career success and its consequences, problems with upbringing, cruelty of children, but the depth is only one thing.
5 out of 10
From film to film, Xavier is the same: a purposeful destroyer of the false notion that homosexuality is a vice. And in his new film, he does not deviate from the set course - his characters are as alive as they are caricatured. Moreover, caricatures are not in terms of simplicity, but in superiority over the rest, whether women or men, adherents of “customs of business turnover”.
Xavier perfectly arranges a halo of splendor around his main character - John Donovan, a handsome man, who to look for. Here he comes to the club, where to such music that just "the heart is ready to jump out for pleasure" meets an equally magnificent guy, a companion for one night. Here John communicates with his family and stepfather, as a result of verbal skirmish breaks the wall, thereby putting a fat point in the ensuing conflict. There are so many moments in the movie.
Of course, it’s great when the director “talks in the same language” with the entire crew. And how wonderful the drama is. But for some reason I did not leave the feeling throughout the viewing that behind all this magnificent soundtrack, editing, handsome actors, veteran actresses Sarandon and Bates and a magnificent icing on the cake in the face of Portman is quite an ordinary plot - they say, the stars are also people and they have the right to privacy.
This became the main stumbling block. It seems that Xavier Dolan is a director who shoots about people and for people, and in fact tried to surpass himself, creating a story for many residents of Hollywood, and generally supporters of the acting craft, clearly counting on something more. Most likely, the approval and support of his new colleagues in the workshop, because “The Death and Life of John F. Donovan” is Dolan’s first English-language film with very, very eminent actors and actresses in the roles of the first, second and even third plans.
As a normal person, I don’t have anything to do here. I seem superfluous at this party, which makes it a little hurtful. After all, “I Killed My Mother”, “Imaginary Love”, “Lorence Again...”, “Tom on the Farm”, “Mommy” and, personally for me, the pinnacle of the director’s work “It’s Only the End of the World” – made them laugh and cry, admire and think, amazed at the talent of the director. And in this film - only once again to watch a good editing, and a cool acting. Sorry, but this is not my movie. It's not Dolan.
It was not even at the level of “Mommy”, but clearly worse. "It's only the end of the world" was a lot stronger by any measure. But Keith Harrington looked surprisingly good, who, judging by Game of Thrones, seemed to be not capable of much. Dolan’s costumes, beautiful famous actors, and this time there is nothing special in the music.
There are several storylines, but none is truly successful. The basis is a commenting conversation in a cafe - a slightly annoying reception, like an interrogation room, a conversation with a psychologist or just a voiceover from the future. At first, not bad, but when the interview turns into a competition, which of the two interlocutors is more struggling with racism and social problems, looks pompous, playful and makes your nose wrinkle.
A sad kid with a single mom who gets hit in school. It came out banal, but it is always relevant, so if it seems like everything has been shown a hundred times before, then the director did not cope.
Donovan's love-family block. After the one-on-one fights with each of the relatives and in general after how truly dramatic the presentation of the relationship in “It’s Only the End of the World” was, nothing succeeded. I wonder why they didn’t cut the scenes over and over again. No wonder Dolan declared failure. Such honesty can be admired, in mass cinema usually announce only how much the creators tried and what all the good.
Well, the line of correspondence. This is the main original theme of the film, but for both hours of screening, it was pushed into the background - the very thing for which everyone here is gathered. The film seemed to try to catch up with the depths, but it turned out, not for anything, and the sediment burst.
As usual, everything is very subjective in reviews of works of art, but I do not understand who will believe in some state of either orgasm or ecstasy, which overshadows a burned journalist from listening to this murky story. The weak final is crowned by the links of failures of the talented Dolan, who here seems tired and exhausted, in vain took up some agitation such as the communist state order in its modern American analogue.
5 out of 10
«Rather than love, than money, than fame, give the truth.» Henry David Thoreau
I’ve known Xavier Dolan for a long time, and the film, of course, has been in my waiting list since the announcement (2016). Unfortunately, I couldn’t get to the premiere of the film at TIFF in Toronto, but I was lucky to see the English-language debut in the original in the summer of 2019.
In the recent past, Dolan shot his own films, where Xavier, in addition to the director and screenwriter, also acted as an actor “I Killed My Mother” (2009) “Imaginary Love” (2010), “Tom on the Farm” (2013) and captured the hearts of the audience with his romance and truthfulness. The Montreal director is distinguished by a very noticeable manner of shooting - an abundance of clowns and is famous for his signature shooting from the back, which gives special thoughtfulness and drama to the characters.
This is not a movie for the masses, definitely. Xavier’s themes of loneliness, mother-child relations and LGBT minorities are relevant for modern Russia. Everything in his films is so true, and sometimes it seems that this is not a director’s fiction, but real facts from Xavier’s personal biography, but we will never know this. The topic of correspondence of the famous actor with the boy is rather scrupulous - previously released on HBO scandalous film-investigation about Michael Jackson "Leaving Neverland" added fuel to the fire of this topic, and thereby took the grain of relevance from Dolan.
The main character and the boy Rupert is connected by deep feelings of loneliness and misunderstanding from loved ones and, possibly, “common” mistakes. The boy's dreams of becoming an actor and a sharp mind pushes the hero to become a victim of bullying by classmates. On the other hand, John has oblique views from colleagues on the site and a huge scandal, like a hurricane that erupted after the release of letters. This tragedy brought together the heroes and brought a lot of pain and at the same time clarity about who they really are. It is interesting that the viewer is not shown to the last how John writes these letters and sometimes it seems that the whole story is one continuous fiction and the fruit of the imagination of an 11-year-old boy.
The music series (Rolling in the Deep, Bitter Sweet Symphony, etc.) and visual presentation are very rich. Big budgets did not spoil the talented and sensual film. Also, it is important to pay tribute to the brilliantly selected cast – starring “GOT” star Kit Harington, Natalie Portman – in the role of a caring mother (by the way she looks very good), the inimitable Susan Sarandon and Thandie Newton in the role of a political journalist. It is noteworthy that the film cut scenes with red-haired beauties Jessica Chastain and Bella Thorne. Coincidence? I don't think so.
On the Internet, there is information that Dolan is not happy with his film, and perhaps that is why there was little promo involved and it was not in the big box office? Unfortunately, this movie is very small, and it is very useful for a thinking viewer.
Every year there are many films from many directors. And very few of these films can be called an event, and directors - visionaries. One of these visionaries is Xavier Dolan, a miracle boy from Quebec who has gone from being a young and ambitious filmmaker to the voice of a generation until he is 30. His dramas grew in ambition and scope from film to film. The apotheosis was "It's Only the End of the World" and no matter how one treats the quality of that production, it's hard to dispute Dolan's talent. The director's first English-language project is shocking ... by Dolan's absolute uncertainty about how to tell stories. The incomprehensible, sharp, but inspired explosion of emotions in this melodrama consists of a bunch of unfinished ideas, crashing into each other like passengers in a subway push.
The script itself seems to have been lost somewhere in the editing phase. Dolan’s story has an unusual premise, and if it had been unhurried for two hours, it would have been strong. The film begins with the death of a TV star, John F. Donovan. A boy named Rupert is in shock. As soon as it turns out, the young man for many years participated in correspondence with John. Adult Rupert gives an interview explaining his relationship with John, which provides a framework for feedback and drama. There is also room for issues of outcasts in school, relationships with the mother (another important topic for Dolan’s work), and a transition to feelings of alienation and loneliness, and, of course, homosexuality. Interestingly, many things repeat themselves: from Rupert’s point of view, the problems are the same, and John has other problems, albeit on the same topic.
The script is working hard to connect all the dodgy intertwined sub-plots with messages. In general, the editing of the film took about two years, which is noticeable. For example, a whole hero and a storyline of Jessica Chastain were cut from the plot. No matter how long Dolan tinkered, history could not be saved. The plot sets initially seem reckless in each of the characters, and the director, apparently, is so in love with the autobiographical characters that he can not make them charming and real for his audience. Condensed, the celebrity (or rather her death) inspires a young man to embrace his own homosexuality. “The Death and Life of John F. Donovan” is hardly an ode to the wagging of films and other pop culture creations – rather, it is a tale with no beginning and no end.
Among moviegoers, young Dolan is a highly controversial director. Death and Life was also a controversial film. In general, from the point of view of the narrative, the film is very unusual - Donovan, the star of the soap opera in the style of CW, was gay and, in fact, writes the script of his life in letters to Rupert. Dolan appears to be trying to offer audiences a role model, though the director's alter ego in this case is Rupert, not John. The whole concept is filtered into a story in which a journalist interviews a grown-up Rupert. It is obvious how similar these people are, from a fake marriage to a strained relationship with his mother... and all this echoes the biography of Dolan himself. The juicy details of biographies, alas, do not work – something similar has surfaced in other films of the director, and this time they overdo it with melodramatism; Donovan can’t even die without sending a last letter. In other words, viewers always want to see themselves or characters they can associate with. Is it possible to see so much Dolan?
From a cinematic point of view, Death and Life is also very strange. In some places, the film is simply a failure, as clichés eat away all the romance of the moment. Color schemes and camera work are also confusing at times. Except that only music tunes a positive mood, well, and acting: from Keith Harington to Susan Sarandon.
Death and Life can be defended, especially if you look at the film in parts. The script reflects on the inner relationships and identification of the person, the relationship with idols and the projection of dreams to reality. Rupert suffers, while Donovan also suffers... but for different reasons, although the roots seem to be the same. It's an interesting fact in an empty film, especially if you project it onto reality - how much can you judge Xavier Dolan's fantasies? And yet his latest film project is mired in tastelessness and feels like a draft of something more ambitious - right down to the song Bitter Sweet Symphony in the final act. It is hard for a Quebec author to understand the legends of Hollywood; he is too subtle, so that the compassionate and multilayered in his hands is sometimes torn in the minds of the audience to something banal.
6 out of 10
The films of this director are very shocking, colorful, unusual. But the eternal theme of homosexuality, which “suffers” and Xavier Dolan himself tires me and does not please me at all. In his works, Dolan reveals his own experiences, especially his first films are just about himself. I am not interested in and not even enjoy the life of a gay boy, and therefore I did not like the films, and I could not even appreciate the director’s work because of the plot. But other, later his films made an impression, they are shot very talented and amaze the imagination.
The director’s new film, The Death and Life of John F., left an aftertaste that already speaks in his favor. A little bitter, thoughtful, with melting seeds of sparkling hope on the tongue, because the story of the life and death of actor John Donovan ends rather on a positive note. John himself may not be able to cope with his inner demons, his loneliness and the misunderstanding of loved ones (although he says in the last scene that everything will be different now... but who knows if it would be different or not?) But Rupert Turner, the little boy for whom John was almost everything and with whom he had so much in common, seems to have found his place in life and even fulfilled some of his destiny in it. Single, not understood even by his mother, the child conducted a five-year correspondence with the star of the famous series, and 11 years later he managed to publish it and give a luxurious interview to a famous journalist.
The film is better to watch more than once, because it is important details that escape the first viewing. And the more you watch, the more you imbue with the atmosphere of this drama, with interest you follow the amazing play of the actors (casting in the film is just shine).
The handsome Kit Harington for me for the first time departed from the image of everyone’s beloved Jon Snow (he is also John), and created a magnificent, complex tragic image ... I must say that Keith has a tragic expression in general and only when he smiles does it disappear. Bravo to him and director Xavier Dolan, who managed to move away from his usual genre and created a simple, understandable film in which you do not need to think up anything and strain your imagination. I liked the movie, but not everyone should watch it. From the point of view of the mass audience, the picture will look tedious, stretched and not interesting in the plot.
So the homosexuality of the protagonist, who fights with her, so as not to be thrown tomatoes and not to destroy his life and the lives of loved ones, will also not find a response in many souls. It was 2006, when the representatives of sex minorities did not go hugging the streets and society condemned them rather than supported them.
The duration of the film will also be very depressing, but in my opinion, all these “flaws” are redeemed by the wonderful acting of the actors, talented directing, the depth of images and the authenticity of feelings.
The film is for fans of the work of Xavier Dolan and people who like deep dramas that raise many problems both in society and personal.
7 out of 10
Some films (and some directors) I try to avoid out of some existential, if you will, fear. Fear that my gut will turn out, in a good way ' refresh ' will leave a rancid feeling for a few days. In general, ' traumatize' and deliver cathartic discomfort - the same one that makes a person better or at least leave a trace.
About this feeling I expected when I went to the film Death and Life of John F. Donovan, as the image of the director Xavier Dolan and his films I have formed & #39; the same & #39;: savage, accurate, painful, desperate. (To my shame, I haven't seen his previous films that I've been advised to do.)
I ended up seeing a plastic painting with cardboard characters and stereotypical plans. If you've been to the Bar Combine on Timur Frunze, maybe you'll understand what I mean: made super expensive and cool, but no soul. Like a big red strawberry that has no taste.
Cartoon experiences, expensive hype actors, grotesque dramatic music (to the place and not to the place), a beautiful picture. From all this they tried to make a masterpiece, but everything works idly.
I will focus on the social background separately. In the middle of the film, the main character, on whose behalf the story is being told, is indignant that the journalist does not take his life experiences seriously. And he makes a fiery (no!) speech in defense of his right to be free, and demands that he take this right and his history seriously.
I would have put one Sartre out of five at that moment. If the director is going to manifest something, he must manifest radically: so that some cry and others are outraged. Otherwise, it is not a manifesto, but in the worst sense fiction, ' Conversations o'. And if it's a genre ' how hard it is to live LGBT' - it seems Xavier Dolan is late, so not today. And I don't think he's any more.
It’s doubly annoying to see this kind of stuff, because movies like this resonate with me. If you compare with the film ' Lonely Man' (A Single Man) by Tom Ford, whose problems are very similar, then ' Death and Life' is about one-third of it.
I have four theories:
The movie didn’t happen, but it happened.
Xavier Dolan is overrated. I'll watch his other films to understand.
- Xavier Dolan wanted to make the most massive film, so he made a drama that is not 'festival', but will go to the mass audience in the mall. And this viewer can be simpler.
The same thing happened to Xavier Dolan as to Zemfira.
P.S. An acquaintance said that this film can be 'forgive' because Dolan has a great credit for his previous films. I don't think that's an argument.
Films by Canadian director Xavier Dolan have always fascinated me and been something very personal. This person is completely devoted to his work, picks up wonderful soundtracks, and the cast never leaves the viewer indifferent. Each of his works is a separate work of art and Dolan’s new film The Death and Life of John F. Donovan is no exception. This is the first film of a young director that I was lucky enough to see on the big screen! So let me tell you a little bit about the story:
Here is the story of the American actor John F. Donovan, about his difficulties in life and about an extraordinary 11-year-old friend by correspondence. John, played by Kit Harington - everyone's favorite Snow from the cult series Game of Thrones - showed his acting skills to the fullest and personally surprised me. His hero is a deeply lonely man, exhausted by fame, excessive press attention and forced to be someone he is not. The young actor John has absolutely everything you can dream about - money, fame, a sea of fans, but at the same time nothing real. All that is is is a life saturated with lies and false people.
He was himself only in correspondence with a fan of Rupert Ternor - a boy actor from England. He is played by Jacob Tremblay, a boy who touches his heart with his amazing performance. John and Rupert, despite the big age difference, are actually very similar. They need each other, and they become soul mates.
Surprisingly, Xavier’s works often contain references to events in his personal life or themes peculiar exclusively to his films. In this film, we see the theme of the problematic relationship between the son and mother, as in the same “Mommy” or “I killed my mother.” And at the age of 8, Xavier, like the main character Rupert, wrote a letter to his idol Leonardo DiCaprio. But unlike Leonardo, the hero of the film John F. Donovan answered his fan and this event completely turned the boy’s life upside down.
The Death and Life of John F. Donovan is different from Xavier’s early work. You feel the growing up of the director, which is reflected in this film. The uniqueness of Dolan’s creations is that they are always so simple, real and important. Every time I watch his films, I experience a storm of indescribable emotions and receive a good portion of food for thought. Previously, I was not ready to share my innermost feelings about his work, because I wanted it to remain an integral part of me. The time has come when the world should learn about such young and bright talents as Xavier, creating quality cinema!
9 out of 10
Last weekend I decided to join Xavier Dolan and watch at least one of his films. Because until then, for some reason, I had not seen a single tape of this vaunted director. This was especially true in connection with the release of his new film The Death and Life of John F. Donovan.
At the center of the story are two characters - the actor of the television series and his fan, with whom he corresponded. The correspondence ultimately results in a disaster for John’s career. Many people may be interested in the film not only because it is the creation of the great Xavier Doln. Another key factor for attraction may be the lead actor, actor Keith Harington. He was loved by many on the cult series “Game of Thrones”. By the way, Harington plays the role in the film is simply magnificent. Jake Tremblay, who plays Rupert as a child, also coped with his task perfectly.
Generally speaking, the film is not typical for Dolan. It's not as sophisticated and designed for a wider audience. The script is catchy and well designed. The main point raised in the film is relevant to this day, despite the fact that people’s views are changing every day for the better in relation to LGBT people. Actors have to pretend to be straight for roles.
What can we say in the end? The film was successful and worth watching.
Everyone who follows Dolan’s work knows what his films are about, and the themes that will be touched upon in his new work are no surprise to anyone. Viewers forgive inevitable story repetitions due to individual handwriting and proprietary techniques of the director, successfully working in his name. The last two tapes are somewhat knocked out of the usual style and are served differently. But it's OK: if Xavier cuts the same meat from film to film, can't he change the knife?
I see nothing wrong with Dolan changing direction, trying, experimenting, groping and mastering. Yeah, it worked out so well this time. But it's not a failure either. The man just changes tactics. We don't know if this is temporary or if Dolan is going to be like this. And then the question arises: is it appropriate to be angry at a good neighbor who has repeatedly treated us with lollipops, for this time he brought a licorice stick?
I mean this: Dolan, like any other artist (and man in general), has the right to evolve, to change and to do something new. And, of course, not every job—his or anyone else’s—has to be stunning, even if all the previous ones were. So yes, it’s not a bit of good old Xavier Dolan, and he’s probably the way we’ve seen him in the last two movies. But in any case, he continues to manifest through his characters the extreme importance of the right to be himself. I think it is blasphemous to try to take that right away from him.
Now for the film itself. It won’t open the depth and it won’t turn the soul inside out, but overall you’ll probably have a relatively good time. If in the process it seems to you that somewhere something is understated and understated, and by the end you are finally convinced of this, then know – you are absolutely right. Yes, unfortunately, the images of the characters and the whole problem turned out to be superficial, because of which it is not possible to really empathize with any of the characters at all.
I have to admit that the tape appears to be an overblown bubble. Heroes kind of suffer, and we kind of understand why, but it's all vague, brief, schematic and without outstanding explanation. Yeah, single-family. Yes, loneliness. Yes, orientation and the consequent difficulties. We have a quick shot and we’ll go to the next scene.
Dolan seemed to rely on the sensitivity of the viewer, who without unnecessary ceremony will understand the importance of the problems outlined, so he did not paint anything and did not go anywhere. At the same time, through the mouth of one of the main characters, Dolan speaks about the narrow-mindedness of the masses, whose ignorance is indulged by the industry (a good monologue, by the way), which, alas, equates him to the representatives of this industry described, because at least some educational load the film does not carry, and it could even be very logically integrated here (as an option).
In my opinion, the main problem of the film is precisely the lack of elaboration of conflicts and experiences of the characters. But Xavier is playing on a new field for himself and can make a mistake in something, it is normal.
The film is not very successful, but it is not terrible either – or you will think about it. He's still pulling out emotions. He still indulges in sensual scenes, close-ups and a beautiful picture. He did not even do without a certain habitual and touching mannerism: the scene running in the rain mother and son, which another director would definitely turn out to be pretentious and deliberate, Xavier came out, though pretentious and deliberate, but still some kind of cute, whatever.
Yeah, I was saddened by the soundtrack. But here, as I understand it, he had the only function - to convey the approximate time when the events unfolded with the correspondence of the characters. By the way, the time is also somehow not very clearly shown, literally in a few strokes: songs of a decade and more ago, a clamshell phone, a craze for television series and writing letters by hand. That seems clear, but pulls again more on serifs-marks without immersion. Sometimes the understatement works and very even, but here it is not a torturous inefficiency, but a defect of the kmk. Well, or a deliberate move, the essence of which I did not catch.
I think the long process of reworking the tape squeezed all the juice out of Dolan. And from the movie, for balance. Let's see what happens next. I believe that even if not as before, it will still be good.
Cannes favorite Xavier Dolan, who gained fame as a Canadian prodigy, several years went to his English debut. But as a well-known saying goes, anticipation of the holiday is better than the holiday itself – one of his last directorial works, The Death and Life of John F. Donovan, seemed like a potential festival hit and fans expected with great interest. Unfortunately, that was just what she seemed to be.
The main characters of the picture, in fact, two are the star of the series John F. Donovan and the young Rupert Turner, who is a fan of him, who was “infected” by the idol with a passion for acting. But they both have problems: John can not cope with personal psychological skirmishes, reconcile with his mother and confess to himself in non-traditional sexual orientation, fearing for his career, and Rupert is not understood and ridiculed by classmates. One day, the boy decides to write a letter to John, which he suddenly answers, and it is this event that will somehow begin to affect their lives.
The Western press finished “The Death and Life of John F. Donovan” as the God of the turtle, and, although the picture is not such a complete suck, there is something to blame for it. Firstly, this is one of Dolan’s most ambitious projects, in which he tried to cram the unspoiled, while simultaneously pulling the entire semantic blanket over his beloved, even never appearing in the frame (it is easy to guess that both John and Rupert are directorial alter egos). This author's egocentrism climbs from all the cracks, strongly affecting other storylines, which the movie is frankly overloaded and sometimes seems to be tipped on a live thread. If Tarantino had the strength, skill and talent to build a highly artistic picture from a number of disparate fragments in his fresh hit “Once Upon a Time ... in Hollywood”, then Dolan does not have this trick. Taking on a bunch of interesting and difficult questions, including reflections on the connection between personal life, publicity and career, creative ambitions, self-destruction, the thirst for understanding loved ones and the tragedy of the futile search for happiness, the director clearly says only one thing: “don’t be afraid to be gay and honest with yourself.” His John is stupid throughout the picture, does not want to change and work on mistakes, commits stupid acts, reacts to every more or less conflicting situation with the phrase “I’m sorry, I can’t / can’t”, although then realizes that everything could be corrected only by a banal introduction to the dialogue. By the way, the correspondence of the star with the child in John’s line is not completely played, and up to a certain point it seemed that it was a figment of Rupert’s imagination at all, which is why their relationship is deprived of an important bond and there is no merger of characters into a single image conceived by the director (the vulgar finale does not count).
Second, Dolan was greatly altered by his sense of taste. Not bad, and even quite subtly started, the movie quickly turns into a farce in the spirit of the worst Hollywood family tear pressers (especially the scenes with Rupert and his mother in the second part of the tape), claiming something high and voluminous, but in fact turns out to be something slurred and murky, filled with vulgar and high-flown dialogue. Although Dolan definitely knows how to work with actors and a whole crowd of stars (Kit Harington, Natalie Portman, Jacob Tremblay, Susan Sarandon, Katie Bates, Sarah Gadon, Thandie Newton, Michael Gambon, there were also Bella Thorne and Jessica Chastain, but episodes with their participation were still cut at the final editing) plays his parts of varying degrees of complexity and duration skillfully and emotionally, plus, as always he expressively submitted due to the polished portrait camera work, however, without experiments with vario-ecrane. Through rare glimpses of talent, "The Death and Life of John F. Donovan" is somehow kept afloat and even able to touch a couple of moments, making it sometimes feel that the filming was led by a not incompetent director. But bright abilities sometimes can not resist the onslaught of narcissism, excess of ambition and a weak understanding of the formulation of their own ideas and thoughts, when under all this heap of author’s personal metaphors lost something important and truly takes for the soul.
5 out of 10
The story of the relationship between Hollywood star John Donovan, who became famous for the roles of superheroes, and an 11-year-old boy who corresponds with him. That's just about the correspondence becomes known to the press, which provoked a stormy public reaction and led to irreparable consequences in the life and career of both.
Perhaps a more daring and relevant story today about loneliness in show business can not be found.
I am always amazed at how Xavier can touch me personally, how he recognizes and emphasizes the conflicts of the characters exactly where I had them. How he manages to show a misunderstanding of the seemingly worn-out topic of “mothers and children”, each time finding a new successful angle. This is beyond praise - it is skill! What to write, this film caused me a gamut of personal feelings when watching, (roared like a beluga), I caught myself thinking that as much a fan of cinema (and a fan still) as Rupert, also wrote letters to nowhere favorite artists, was also a “white crow” in the class, as quarreled with relatives. I went through all this and learned my personal life path. It's an invaluable life experience. I am sure everyone will understand this story in their own way.
In light of scandals with a number of artists, this picture looks very relevant and affects primarily the reaction of narrow-minded society, on which we all allegedly depend. Artists, of course. Often, the eternal crisis of self-identification and the experiencing difficulties of personal growth push people to incredible actions. Everyone has the right to love and be free in his choice, to do what he wants without fear of any gossip and condemnation from loved ones. But how deeply mistaken we are all. Life in show business is shown as it is, while you are popular - you are in demand, as soon as you stumble a little, everything, "will eat with guts."
Special thanks for the acting feast on the screen: single Keith Harington, stupid Natalie Portman, desperate Jacob Tremblay, loving hysterical Susan Sarandon, calculating Katie Bates and Sarah Gadon. All the characters are colorful and soulful, each monologue is permeated with “necessary” pain and despair, each in its place. With each scene, I got under my breath, from the promotion of the plot and the acting, their dialogue. All 2 hours flew in one nervous breath, emotions and compassion absorbed with his head. But it was all worth the marvelous ending, with tears of happiness rolling from your eyes... to The Verve and their timeless hit "Bittersweet Symphony." Genius!
As protesters gathered on the next street, we sat comfortably in soft velour chairs, anticipating a dramatic, intense story inspired by fragments of the author’s life. And when the general plan of New York appeared on the screen, which lacked only the credits à la “a bachelorette party in the city”, I thought I had confused the session. But it was not all the surprises... in front of me and another fifty spectators in the hall was waiting for a two-hour swallowing of viscous pink slime, showered with sweet syrup from clichés and candid hymns. There is a feeling that a bad screenwriter sat on Dolan’s shoulder, whispering dry tricks, smeared with second-rate shorts about eternal injustice.
The new work of the Canadian prodigy is built in the form of two storylines, woven by loneliness, vulnerability and spiritual tenderness of the main characters. And all would be nothing — familiar questions and the usual Dolan answers. However, from the tape literally stinks with the desire to remove something Hollywood, but with a unique author's handwriting, capable of making critics fall into precipitation.
Everyone is trying really hard
In pursuit of approval, the director went through nine rounds of post-production, losing his picture to holes, causing the script to stumble on bumps and fall into the pits of indistinct plot twists that have no sensible premises. The tape looks exhausted. The actor's ensemble, full of big names, is very trying to create an emotional heat that covers the author's flaws, but everything that happens is deprived of ease - Kit Harington seems to be serving his duty, trying to pull out an unbearable dramatic role for himself, sometimes out of place issuing a cute smile.
In the intervals between script and visual stamps, you can catch perfectly staged and technically flawless scenes. Beautiful light falling on the faces of actors with muffled glare, touching little things caught in a close-up, languid glances in front of him and such a familiar nervous finger-biting. In those moments, you finally remember whose movie you're watching.
Potential lost in the dump of excess ambition
Shame. It could be a stunning picture, capable of inspiration, giving faith in yourself, condemning a cruel glossy world and a society obsessed with dirty laundry, unable to accept someone’s dissimilarity. But in an effort to get a standing ovation, Dolan increasingly looks like a moody child, in a fit of hysterics, crumbling the sand castle he's been building for so long.
“If a child is told that his dream is impossible, he can believe it.”
I can’t argue, and I don’t want to argue, that this painting is a masterpiece or the best thing I’ve seen in my life. Nope. I can only say that Xavier Dolan’s film, which was reflected in my heart, touched my heart and brought me to those thoughts and emotions that I have long lacked.
The story we are witnessing is exceptional. It does not need to be treated downright, as many people like to do, look for minuses in small things, this story just needs to be enjoyed, absorbed and drawn conclusions.
The film tells about an unusual friendship by correspondence of two completely different, at first glance, people. Rupert is a young boy who dreams of becoming an actor and John is already an actor and a big celebrity. At the beginning of the film, they are so different and distant people, but they have very similar fates, aspirations and desires.
The film raises many questions that are very close to me. The relationship between mother and son (one of Dolan’s favorite themes), unconventional love, loneliness in society, misunderstanding from others. And yes, as Audrey (the journalist, the heroine of Thandie Newton) said, these are problems of the “fed world”, they do not compare with global catastrophes of the third world or natural disasters, but nevertheless these are very important topics, they need to be covered and talked about.
For me, this film is ideal for almost everything from the direction and script, to the impeccable cast and soundtrack.
The soundtrack was very unusual. But it looked very organic in this context and was all appropriate. Relatively modern hits (such as Rolling In The Deep or Stay By Me) are quite bold and unusual for the ear of "amateurs and critics." It is so original to use the compositions of the past decades. Are you serious?
The direction and script , in my opinion, were not inferior to Dolan’s previous works. Yes, the film is different, but clearly not the quality, but rather the presentation of a more mass, or something. Interesting fact that at first the film was supposed to be very different, and even included a character – antagonist, played by Jessica Chastain, but at the editing stage, her role was cut and changed the concept of the film as a whole, I think it’s even for the better.
The cast , I don't know if there's anything to write at all. Starting with the young but insanely talented Jacob Tremblay, who coped and paired with Ben Schnetzer, Rupert is my favorite character in this film. Keith Harrington, who has already been scolded for “innocent eyes and a stone face.” Personally, I don’t think he showed his character exactly the way he should be. Natalie Portman, Katie Bates, Susan Sarandon – on top, without words.
I recommend this film to everyone from small to large, it will make you empathize and look at some things from a completely different angle. Always be yourself, dream, believe in the best and don’t let anyone tell you that your dreams don’t have the right to exist.
Reading the critique of The Death and Life of John F. Donovan, I felt nothing but frustration. Disappointment for Xavier and the fact that before the release of this film will not get. The film was released and I am very happy for the director. Honestly, I don't know what they want from him. They expect impudence from him, an incredible bomb in the plot, something strange that not everyone will understand to score for complex metaphors?
In early January, he wrote on Instagram:"...I noticed that self-love and confidence are too often confused with arrogance and pretentiousness. Self-love primarily means being honest with yourself. Confidence is necessary to have the courage to show who you are. One without the other is meaningless.
I think that the movie we see today is the same self-love and confidence. He shot what he wanted to shoot, he saw it so and gave the viewer part of the happy days while shooting.
The plot isn't complicated. Against the backdrop of Donovan’s confused life, the story of a boy who isn’t afraid of himself, who doesn’t lie to himself. Two different people connected only by correspondence. John might have wanted to be like Rupert, but something was stopping him. Let each one decide for himself what has become an obstacle for him. I don’t think there’s a clear answer.
The idea of conveying the story through a conversation with a journalist fit well. And thanks to these episodes, it was possible to successfully insert a statement addressing the topic of homophobia.
This film is a narrative: small sketches of important stages in the life of the characters. The most important thing is that there is no falsehood in these sketches, the actors are direct and I observe the lives of ordinary people, not famous faces.
I love Dolan’s movies, they’re all good in their own way and they all have something in common. I can be wrong, because we do not know him and I am not him, but the movie he makes, I perceive as a kind of memorable photo album about the lived period. Isn’t it wonderful to share honest experiences with you?
In an interview about Imaginary Love, Xavier said something like, “We had a good time with friends and thought, why not make a movie.” It seems to me that he continues to shoot with the same attitude, the warmth is felt through the screen. This is the best thing that cinema can give in our time.
10 out of 10
He went to the film on the first day of rental in Russia - 15.08.2019. It was the premiere screening in October and a discussion with film critic Dmitry Barchenkov.
I liked the film, although I did not have any special illusions when I came to the cinema - the criticism I read before watching did not have this in mind.
But it wasn't as bad as I expected. It’s probably the best Xavier movie I’ve seen so far (Laurence/End of the World/Tom on the Farm/I Killed).
The story itself is shown easily and at ease - a small child is in correspondence with his idol. I am not fully aware of this topic, as I myself have never had the need to write to someone of those celebrities who I like / whom I consider important.
Pros of the film is definitely camera work with close-ups and music. Well, the happiness of watching Susan Sarandon on the screen visited me. In general, acting here at the height of almost everyone! Jacob Tremblay as a boy is an unambiguous find! What is only one scene of ecstatic seizure at the sight of the credits of your favorite series! That was wonderful!! I urge everyone to watch the version only with subtitles, in no case dubbing! There will be something very important lost when you etch the original sound.
The only weak link in the film is the actress who played the role of a black journalist. She really pissed me off with her inappropriateness here. Thank God that the final version of the picture cut all the scenes with another journalist, the heroine of Jessica Chastain, otherwise it would be a horror-horror.
I’ve never seen Keith Harrington in a movie, but I can tell you that what he’s doing in this movie is not a bad thing.
I also liked Natalie Portman as the boy’s mother. She's in her place. Sometimes my mind confused her with Julia Roberts, and it seems to me that the further the time goes, the more difficult it becomes to distinguish between the two actresses. They have the same face.
After the film, there was a discussion of the film, in which I learned a lot of interesting things, in particular, that the film was supposed to star Adele (!!!). It is a pity that this did not happen.
It’s definitely worth going and watching this wonderful movie!