You smile when you know that the character played by Anthony Hopkins is called, Well, Anthony. Does it come from the game Director of Florian Zeller? Where is this film based, and the scenario that he wrote together? Or from the actor himself? Either way, both as vanity and facts, it’s right. Like Hopkins as the old man losing a sense in the Zeller debut feature, ‘The Father‘.
Opened the film with Anthony Wandering about large and beautiful flats in London:
At first glance, everything looked fine, but in a few minutes, the sense of disorientation Anthony began to look. In a conversation that was increasingly testicled with his daughter Anne (Olivia Colman). We learned that she had driven some caregivers because she did not believe she needed help. As it was transferred by Anthony around a different place – living room, dining table, kitchen. We saw both of them who lived and were an oddity in his gaze. When he relied on people he could not recognize. The only object that seems to remember is, ironically, his watch, whom he kept wrong place; He is no longer the Time.
We are our memory. Hopkins presents an acting master class by softening Anthony. And the centre collapses because he desperately tries to defend the life as he needs to know. He did it with a mixture of vulnerabilities and irascibility, bluster and charm. And this was a recognized and respected struggle, Anne. As a new caregiver, which Anthony’s Roguish Twinkle took. When they first met and then began to feel out of the depths, Imogen Poot was excellent. And Colman is extraordinary, like a girl who empathizes with his father’s condition. But knows that he can no longer handle it himself. What did you do with obedient love and guilt who constantly left a life that took you into life? It’s one of the most challenging places to be.
This film, based on needs, room drama, mostly playing in the flat:
But over the walk, we see how frayed thoughts. It can play tricks by themselves: is Anthony see what we see? The device has two actors playing the same person. (Anne, briefly, having another face, like her husband, played by Sewell / Gattiss), sometimes the film seems too intelligent. Confusion is fine, but it can be confused by too many loops. But we forgive this little style choice because they have never done away with Mawkishness. Or open sentimentality, because it makes his eyes on Anthony: Dementia’s atrocities are shared. Not only by those who suffer it but also by those who love it. They are the most.
Until now, my favourite Hopkin performance is David Lynch in 1980 ‘The Elephant Man. But this can now pass because it shows as an actor who manages the impossible. As a helpless man disappearing, Hopkins always, with the magnificent present.
Many people come to their homes throughout the film, and we don’t know who they are. Characters have little development in this film, and we barely know anything about them at all. Sometimes we (audiences) are very hesitant. To trust these people and are confused by them, just like Anthony.
It is the option to allow the attendees to fully immersed in the tragic mental Anthony. The descendants who make this film an absolute masterpiece. This film took us on his way through dementia. And I wasn’t sure and was confused when he, and it took my breath. Instead of seeing it from the perspective of the person he loves, we see it from his perspective. We saw and experienced his confusion and sadness when he began questioning his sanity, and it was too real.