The Fabelmans

I saw several negative reviews before I watched this, and I assumed there was an element of grading someone a bit more harshly when they have achieved wild success or, heaven forbid, if they do stellar work in one genre such as sci-fi or adventure and then have the chutzpah to create a film in a different genre not appreciated by the sci-fi etc. fans. Maybe there was some of that baggage involved; how else to explain one-star reviews. Really? A disgusting gross-out comedy might get 4 stars, but a serious biopic gets one?

But I have given it six stars, probably my low for a Spielberg movie. I thought the film was too episodic. Here is where he saw his first movie; here is him with his first camera; here is where he learns something upsetting about his parents’ marriage; here is some bullying and then that part in every coming of age movie it seems, where a pretty girl throws herself at him. Sure wish that had happened to me at that tender age. And some of the scenes felt rather cliched to me. Also, and this is a bit of a spoiler, at one point his mother assures him she has not done ”that” with Bennie, and she loves her children and husband more than anything, but she still can’t live without Bennie? I had trouble with that revelation.

But it isn’t all negative stuff. I thought a lot of the acting was strong, with a few exceptions, and most of the dialogue was good, but when a film is 2 and a half hours long, consistency is hard to come by, and there were a few hiccups here and there. The scene with John Ford was intriguing, but they could have done a bit more with it. I liked the two sisters as characters, but again, not enough depth was given to them. A bit of a lost opportunity.

“The Fabelmans” is a movie loosely based on the true story of Steven Spielberg’s own childhood. Produced after the death of his mother Leah Adler and using the fictional family name of the Fabelmans the movie focuses primarily on the iconic film makers family and the impact his parents divorce had on his young life.  “The Fabelmans” is rich in  exposing the influences behind classic movies like E.T. ( Set in a broken home ) and some early techniques at effects the film maker used to better his home movies. 

“The Fabelmans” starts in the 1950’s with Sammy Fabelman experiencing for the first time the magic of cinema with his parents. Slightly traumatised by the movie, particularly a train crash scene, it’s from this emotional experience the first glimpses of becoming a film maker appear. Who of us that have delved into the arts ( film making, actors , singers , performers , etc ) didn’t start off creating these types of home made replicas?  The idyllic family set up, with the ever growing confident and more adept young home movie maker,  becomes derailed when after editing his 8mm footage of a family camping trip he discovers all was not as he remembered.  The impact of what Sam discovers about his concert pianist mother and that fateful trip results in the eventual breakdown of his parents. 

As the movie moves into the early 1960’s and Spielberg’s high school years “The Fabelmans”touches on religion, race issues and first love. Due to the impact of that fateful camping holiday and therefore following a hiatus of not wanting to make any further home movies, Sam is persuaded by his girlfriend to film the end of school year beach party get together.  The impact of Sam’s return to film making is clearly visible after the graduation film he produced is shown at the school prom to great acclaim.  

“The Fabelmans” is well documented as being a love letter to cinema but equally it is Spielberg’s love letter to his family. This is the movies key fact, the acceptance...

Gabriel LaBelle is great in this generally entertaining and interesting tale of a young lad ("Sammy") growing up in post-war America who has a penchant (and eye) for film making. Growing up in an happy environment with mother "Mitzi" (Michelle Williams), father "Burt" (Paul Dano) and sister "Natalie" (Keeley Karsten) they all rub along amiably enough. His father is a developer in the computer industry, and together with their best family friend "Bennie" (Seth Rogan) relocate to a better opportunity in Arizona. It's after a family camping trip - and the death of his grandmother - that the young "Sammy" is asked to make a short movie from the film he shot whilst they were all messing about in the wilderness. His attention to the detail of his photography gradually reveals something that upsets him, and threatens the very equilibrium of their erstwhile happy family. What now ensues demonstrates how, gradually, all come to terms with his discovery and he determines just where his future career lies. I am not really a fan of Williams - I find her sterile most of the time; but here she is on really good form. The character of "Mitzi" is probably the most interesting, certainly the most conflicted - and she delivers it well. There are two lovely little, inspirational in differing ways, cameos from Judd Hirsch and from David Lynch at the end of this film that has a distinct lusciousness to it. Like the performances, the photography and the soundtrack are natural and engaging and could easily convince any of us that a career in film making is possible - indeed, straightforward! I don't know the extent to which it is autobiographical of Steven Spielberg's life, but to be honest I didn't really care. This is just a fine film to watch.

The film is eminently watchable. The acting and directing are, of course, excellent. The script, however, meanders aimlessly like Moses in the desert. Where's the point? What are the important take-aways? These questions and more are not answered. For such a long film, the character development of the supporting roles was wholly absent. In my movie list of Directors About Themselves (https://boxd.it/iEWZO), this is weakest of the whole bunch.

(CASTELLANO)

Me ha gustado mucho porque no la sentí como una simple "carta de amor al cine", de esas que suenan bonitas pero se quedan en postal. Me llegó más hondo. La vi como una película sobre cómo nace una mirada, pero también sobre lo que cuesta tenerla. Sobre un niño que descubre que una cámara puede ser un juguete, un escudo, una forma de ordenar el caos y también un instrumento peligroso, porque cuando uno mira de verdad empieza a ver cosas que quizá preferiría no haber visto.

Lo precioso es que Spielberg no convierte su infancia en un altar perfecto. Hay ternura y una emoción enorme por el descubrimiento del cine, pero también hay tristeza, grietas familiares, mudanzas, soledad, culpa y esa sensación de que crecer consiste en entender que tus padres no son solo "tus padres", sino personas con deseos, renuncias, errores y dolores propios. Por eso me pareció tan bonita: porque habla del amor familiar sin negar lo que ese amor puede romper por dentro.

La madre es el corazón más luminoso y más doloroso. Michelle Williams está extraordinaria, con alegría, fragilidad, necesidad de vivir y tristeza escondida. Es una persona que ama, hiere, no sabe quedarse quieta y a veces parece iluminar una habitación y apagarla al mismo tiempo. La película la mira con adoración, pero no con ceguera.

Paul Dano también me pareció magnífico en el otro extremo: un padre bueno, inteligente, racional, trabajador, incapaz de comprender del todo la fiebre artística de su hijo y de su mujer, pero no por maldad. Me gustó mucho que no lo convierta en villano. Quiere a su familia, pero no entiende que amar no siempre significa saber mirar. En esa diferencia entre la madre artista y el padre técnico está una de las grandes heridas: dos formas de entender la vida que se quieren y, aun así, no siempre pueden convivir.

El protagonista crece justo en medio de esa tensión. Para él, filmar empieza siendo asombro, luego juego, luego oficio, luego necesidad. Me em...