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Starting Out in the Evening
(2007) Roadside Attractions, 1 hr. 50 mins.
Starring:
Frank Langella, Lili Taylor, Lauren Ambose, Adrien Lester
Directed by:
Andrew Wagner |
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Intelligent films about artistry and
romantic/familial relationships aren’t necessary a dime a dozen in
abundance. In fact, it is that rare occasion when character studies
pertaining to the world of academia and undefined affection register with
such prominence and prestige. Writer-director Andrew Wagner’s Starting Out
in the Evening is the epitome of sophisticated cinema that echoes this
particular sentiment. Wagner’s penetrating narrative is poetically
stimulating in its smart approach to its dialogue-driven excellence and
standout performances. This is a compelling drama about real people with
genuine vulnerabilities in mind and spirit.
Veteran actor Frank Langella gives a profound and poignant turn as aging,
sickly widowed author Leonard Schiller left in obscurity until an
attractive grad student named Heather (Lauren Ambrose) decides to coax the
brilliant mature writer into sharing his philosophy on his tremendous
written work for her thesis. Clearly, Langella provides one of the year’s
most astonishing performances that’s textured in convincing angst and
perpetual bewilderment. It would be an immediate outrage if Langella’s
consideration for Oscar gold is surpassed as Evening gains its lacerating
heart from his conflicted, well-polished scriber.
The story finds the distinguished but disillusioned Leonard trying to work
on his last novel. Once considered in the company of great American
authors, Leonard is “rescued” by the inquisitive Heather as she reminds
him of his invaluable contribution to the literary landscape. There is a
personalized tilt to Heather’s interest in the venerable Leonard—he was
instrumental in shaping her existence with his earlier two books. Now,
Heather gets to grill her cherished mentor about his outlook on writing
and the passion that it garners. At first Leonard was reluctant to let the
curvaceous redheaded admirer interview him because his focus for his
tome-in-the-making would be compromised. However, Heather gradually grows
on Leonard and he learns to trust her as she delves into his motivation
for printed creativity.
While Leonard is preoccupied by his fictional foundation with Heather, his
real-life concerns are also reserved for his soon-to-be 40-year old
daughter Ariel (the talented Lili Taylor). Ariel is a woman in quiet
despair as she weaves in and out of meaningless relationships with middle
age worries hanging in the wings. She fears that she’ll never get the
opportunity to settle down and have children like “normal” women her age
have experienced. Ariel’s last hope for stability is presented in her old
black boyfriend Casey (Adrian Lester) as she reunites with him. Leonard
feels that Ariel is wasting her time with Casey since he views the concept
for Ariel’s sense of commitment as “inconsequential”. Why, Leonard asks
incredulously to Ariel, must she settle for anything less pertaining to
her unanswered expectations?
Overall, Staring Out in the Evening is a literate and lyrical examination
about ambitious individuals on the decline artistically and otherwise.
Wagner and co-writer Fred Parnes suggests that their protagonists are well
schooled in their precocious playground of text books but maintain a
shortage in the real world where human flaws cannot mask the greatness of
one’s intellectualism. This exposition is brimming with confidence in
terms of sturdy characterizations, complex interactions and the moral
dilemma about growth both physically and mentally.
As Leonard, Langella is fearless and exudes a craftiness that combines a
stodgy scholar with that of an empty relic piecing together his noteworthy
relevance. Ambrose is simply amazing as Heather, an articulate tart that
displays ingredients of a tempting tease—seductive, intuitive,
presumptuous and determined. We’re not quite sure what to make of Leonard
and Heather’s topsy-turvy connection because there are questionable depths
of affection beyond her wanting to pick at this legendary writer’s psyche.
As a colliding subplot, Taylor—the original indie darling—is sympathetic
and saucy as the dejected Ariel vying for that elusive ounce of
completeness. As the father-daughter tandem, Langella and Taylor are
magical and demonstrate a satisfying bond that feels durable. The film
admittedly stagnates a bit when Taylor’s Ariel and Lester’s Casey
kiss-and-clash over where their union is headed in uncertainty. Still, the
players are well-intentioned in their perception and perplexities.
Predictably, a quiet but compelling arthouse dandy such as Starting Out in
the Evening will probably take a backseat to the more intrusive holiday
flicks and bigger Oscar-bait contenders looking to make a score in the
consciousness of critics and casual moviegoers alike. This is all the more
reason to check out Evening before it unfairly becomes another hidden gem
waiting to be discovered on a dusty video store shelf. |
