“Watch Me.”
These first words, hauntingly spoken by a young boy we never see, sets the tone for the much anticipated follow up to Oscar-winning director Paul Haggis’ film Third Person. Haggis recycles and builds upon the formula which brought him success with the 2004 Academy Award winner for Best Picture, Crash– a multi-storyline formula that saw a divide between audiences. Either it was too predictable, too unrealistic, or just too confusing. However, Haggis’ vision is clear in Third Person, as much more of the film is left up to audience interpretation. Is it ambitious to attempt another film in this style? Absolutely, but with an obsessively creative genius at the helm and a cast of genuine A-List actors, Third Person is a rich cinematic experience.
“Watch me,” the boy says, as the film opens on Liam Neeson (Taken, The Grey) sitting in solitude at a desk in his Paris hotel room. Neeson plays Michael, a former award-winning fiction author whose personal life has come crashing down around him. After leaving his wife Elaine (Kim Basinger- L.A. Confidential) he escapes to Paris to finish a book he’s having trouble finishing. His affair with the sexually brash and aspiring writer Anna, played by Olivia Wilde (Rush, In Time), messes with his mind and his heart.
In Rome, an American con-man is finalizing a deal to bring copy written fashion designs back to the USA for reproduction. Scott (Adrien Brody- The Pianist) spends his last day in the city at a local bar where he meets a beautiful gypsy woman, clearly distressed. Monika (Moran Atias- The Next Three Days) tells Scott she is reuniting with her daughter, whom she hasn’t seen in two years. Something about her seems off, but Scott’s intrigue brings him to follow Monkia on a journey that leaves him questioning her intentions, and whether or not he is being conned himself.
Our last story takes place in New York- Julia (Mila Kunis- Black Swan) has fell from grace and is struggling to make ends meet. A former soap opera actress, Julia now works as a hotel maid to pay rent and rising legal fees, as she’s currently fighting a custody battle with her ex-husband Rick (James Franco- 127 Hours) over their 6 year old son. A prior event that isn’t seen in the film concludes that Julia tried to physically harm her son. Denying any wrongdoing, Julia and her lawyer Theresa (Maria Bello- A History of Violence) do what they can to reunite her with her son, but it’s not without complications.
The “aha” moments aren’t as spelled out as they were in Crash, forcing audiences to come to conclusions on their own as opposed to being force feed, a directing style I appreciate.
I walked away from this screening thinking “Crash meets Memento.” The imagination teeters on delusion at times and much to the story’s benefit, it’s hard to differentiate what is in fact reality. The script is well fleshed out and does not present any conflicts that could easily arise when dealing with overlapping plots. The common threads that weave through each story- themes of love, longing, and betrayal, are equally strong. Whether in Paris, Rome or New York, every character struggles with a cat-and-mouse game these themes create. The “aha” moments aren’t as spelled out as they were in Crash, forcing audiences to come to conclusions on their own as opposed to being force fed, a directing style I personally appreciate.
Michael’s story is more of the focus throughout the movie. Not so much the puppeteer, but he is the driving force for the movie; He feels through the characters he creates in his stories. The other characters feel through their own personal experiences, a differentiation worth acknowledging.
The actors appearing in this film are all extremely talented and Third Person gives them the platform to explore very different roles. Liam Neeson’s last films have been very physical and tough, whereas here, his dramatic acting skills are on full display. He can’t and doesn’t hide behind stunts. Mila Kunis is known for her girl next door, humorous roles. As Julia, Mila taps into a dark, emotionally unstable and extremely vulnerable girl who’s performance is captivating. Other great performances come from Olivia Wilde as the sexual temptress, who leaves little to the imagination as she confidently bares all in more scenes than one. Maria Bello fully embodies her role as a lawyer in the same way Adrien Brody plays the caught-up tourist- both with passion and empathy.
Technically speaking, Third Person is a well executed film. The edit is seamless, editor Jo Francis cuts to the mood/ location/ action of the film in just the time it takes for us to blink our eyes. It’s subtle, but extremely powerful. The score is highly cinematic, to be expected with any surreal drama.
Who is, or what is, this mysterious “third person” is never literally answered, but it’s not hard to fill in the blanks with the breadcrumbs Haggis leaves throughout the film. I choose to believe this “third person” is the environment, the element in which our characters respond. Paris is the city of love, yet Michael is caught struggling to understand his feelings about the women in his life. In many successful films past, like The Talented Mr. Ripley and The Bicycle Thief, Rome is the setting that is predisposed to mystery, and Monika is an enigma to Scott. For many, the concrete jungle that is New York City creates a cold vibe- not welcoming and easily depressing. Julia has hit rock bottom and her internal woe adds to desperation and overwhelmingness of the city.
For fans of the cerebral drama, you’ll find much to like in Third Person. The cast could not have been better, pushing this already intense script into very strong territory. It requires audience participation, or at least, attentiveness, to fully understand and appreciate the film, but if you’re willing to put in the work, the reward is extremely gratifying.
