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| Courtesy of Fox Searchlight |
I'll
get right to the point. Beasts of the Southern Wild, currently playing in
limited release, is one of the best movies of the year. It manages the feat
with no stars, no big names behind the camera and no extravagant special
effects. Instead, it achieves brilliance the old-fashioned way: by telling a
captivating story and executing it wonderfully. Is it perfect? No. But even its
flaws are fascinating, making you realize how boring and safe many current
films are.
Even more mind-blowing is the fact that some of 2012’s most powerful performances are delivered by people who’d never acted prior to being cast – especially Quvenzhane Wallis, the film’s stunning six-year-old lead. Casting is one of many risks director/co-writer Benh Zeitlin and his scripting partner Lucy Alibar (the screenplay is adapted from Alibar’s one-act play) took here, and I’m happy to say that the vast majority of them pay off.
The most recent movie to which I can compare Beasts of the Southern Wild is last year’s The Tree of Life, primarily because telling a straightforward narrative isn’t either film’s primary concern. Like Terrence Malick’s masterpiece, Zeitlin’s tale is more interested in conveying its message through stunning visuals and powerful emotions. While that means it’ll probably rub some moviegoers the wrong way, I’m willing to bet most people who give it a shot will be floored. It’s nothing short of visual poetry.
Most importantly, Zeitlin and Alibar understand an odd and seemingly contradictory detail about storytelling: the more specific a story is, the more universal its truth. This particular fable revolves around the tiny, resilient Hushpuppy (Wallis) and her harsh but loving father, Wink (Dwight Henry), as they struggle to make a living in the Bathtub, an unforgiving Delta community stuck on the wrong side of a levee. It’s obvious that one strong storm could destroy everything in an instant, but abject poverty and – more importantly – devotion to their fellow man keep residents from moving.
Even more mind-blowing is the fact that some of 2012’s most powerful performances are delivered by people who’d never acted prior to being cast – especially Quvenzhane Wallis, the film’s stunning six-year-old lead. Casting is one of many risks director/co-writer Benh Zeitlin and his scripting partner Lucy Alibar (the screenplay is adapted from Alibar’s one-act play) took here, and I’m happy to say that the vast majority of them pay off.
The most recent movie to which I can compare Beasts of the Southern Wild is last year’s The Tree of Life, primarily because telling a straightforward narrative isn’t either film’s primary concern. Like Terrence Malick’s masterpiece, Zeitlin’s tale is more interested in conveying its message through stunning visuals and powerful emotions. While that means it’ll probably rub some moviegoers the wrong way, I’m willing to bet most people who give it a shot will be floored. It’s nothing short of visual poetry.
Most importantly, Zeitlin and Alibar understand an odd and seemingly contradictory detail about storytelling: the more specific a story is, the more universal its truth. This particular fable revolves around the tiny, resilient Hushpuppy (Wallis) and her harsh but loving father, Wink (Dwight Henry), as they struggle to make a living in the Bathtub, an unforgiving Delta community stuck on the wrong side of a levee. It’s obvious that one strong storm could destroy everything in an instant, but abject poverty and – more importantly – devotion to their fellow man keep residents from moving.
When the inevitable finally happens, it seems like the flooding of the Bathtub is just one tiny part of the end of the world. Icecaps also begin to melt, releasing prehistoric pig-like monsters called aurochs that appear to be heading straight for Hushpuppy. The young girl and her complicated father decide they’re not going to wait around to see what life has in store for them; instead, they choose to make their own destiny.
If
it sounds like I’m being purposefully vague about the plot, you’re right. It’s
best if you discover the wonder of Beasts of the Southern Wild on your own. Fortunately,
it’s also the rare film with a trailer that doesn’t give everything away. A
quick YouTube search should take you to the nicely constructed preview that provides
a glimpse into the world of Hushpuppy, Wink and the Bathtub.
While
the creative story and unique visuals are certainly praiseworthy, they’re
simply icing on the cake. Wallis is the main reason the film is a must-see. Simply
put, she delivers one of the best performances I’ve ever seen by a child actor.
There’s no mugging for the camera or cutesy delivery, and she doesn’t act like
a 30-year-old trapped in a kid’s body – she’s just real.
Zeitlin
and Alibar deserve even more kudos for the narration they provide for Wallis.
She’s a natural storyteller, and the words really sound like they’re coming from
a six-year-old who’s experienced more from life than most adults.
Henry
is terrific as well, instilling Wink with conflicted feelings about his role as
a father. How honest should he be with Hushpuppy about their living situation?
Where should he draw the line between letting his daughter be a kid and making
sure she grows up tough enough to survive in the Bathtub? He never vocalizes
these concerns, but his eyes reveal that he’s constantly struggling with the
issues.
I still
want to talk about the amazing score by Zeitlin and Dan Romer, as well as the
fact that I welled up several times due to the sheer beauty and scope of the flick.
But it feels like I’ve written too much about Beasts of the Southern Wild already.
I don’t want to hype it up so much that it seems too good to be true. Just know
that it’s worth the trip to Atlanta. People are going to be talking about this
one for a while.
Beasts
of the Southern Wild is rated PG-13 for thematic material including child
imperilment, some disturbing images, language and brief sensuality.
Grade: A-
Grade: A-
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