It’s wrong to judge anything against something it’s not trying to be so I’m hesitant in criticising Manchester by the Sea as I’m probably falling into this trap. However, having been impressed with the first half of the film I found my engagement derailed by the flashback of the narrative enigma, a traumatic event (spoilers ahead).
The film focuses on Lee whose past returns to haunt him. That sounds formulaic but the narrative and visual style takes its cue from early 1970s New Hollywood, which favoured art over commerce. Casey Affleck’s portrayal of Lee is point perfect: a youngish man who is trapped within inarticulate masculinity; he habitually chooses to end his solo boozing sessions with a fight. He is a man whose manual work offers no fulfilment and he speaks his mind to ungrateful customers. The slow paced early scenes that introduce his mundane existence, in a snow littered Boston, are reminiscent of the down-at-heel locations favoured by, for example, Bob Rafelson (The King of Marvin Gardens, 1972, and Five Easy Pieces, 1970). The relatively long takes of Lee’s routine work, beautifully framed and using a long lens to flatten the mise en scène, are redolent of such ‘70s American art cinema films and I was delighted to watch this part. Rafelson’s films also dealt with delusional and ‘bottled up’ males who won’t engage with their reality. For Rafelson this was the ‘human condition’ of a certain type of man, however Kenneth Lonergan’s (he wrote and directed) Lee actually has a reason for his emotional stunting. And that’s where the film took the wrong path for me.
About half way we find that Lee is responsible for his children’s death in an accidental fire. Unfortunately Lonergan uses Albinoni’s Adagio, a saccharine-sweet ersatz piece of classical music, in the staging of the fire and this lurches the film into full blown melodrama that is at odds with the realism of the first part. Was the death of the children needed to explain Lee’s obtuseness or would it have been enough that he’d lost his wife (the incredible Michelle Williams) through his boorish behaviour we see in one of the many flashbacks? Either way, the melodrama (a genre I love) turned me off the film and it took Williams’ all-to-brief appearances to get me involved again; she is an amazing actor.
Lee becomes his nephew’s trustee, after his brother’s death (the motivating incident for Lee to return to his hometown) and I wasn’t convinced by the young man’s (he’s 17) response; this wasn’t Lucas Hedge’s performance but the script’s fault. He – Patrick – obviously yearned for a parent, he wants a relationship with his absent mother but his grief at the loss of his father, to whom he was clearly close, is muted at best.
Lonergan shoots Lee’s brother’s funeral, like the fire scene, ‘at a distance’ with no diegetic sound (sound derived from what we see on screen) with only music accompanying the images; this aestheticism struck me at odds with the New Hollywood style. However, of course, maybe that wasn’t the film Lonergan was making so my criticism should be moot. I suggest he makes a female version of the film, sans the fire incident, that focuses on an emotionally damaged woman (or Sarah Polley could do this – see her great Take This Waltz with Williams). I am bored of male stories; women have them too.