Frank

Frank

 (2014)

A Review by Grant Kanigan

Directed by: Lenny Abrahamson

Written by: Jon Ronson & Peter Straughan

Starring: Domhnall Gleeson, Maggie Gyllenhaal,

              Michael Fassbender

Rating: 14A

Release Date: August 15th, 2014

Maggie Gyllenhaal, Michael Fassbender and Domhnall Gleeson in Frank
© 2013 - Film4

     Frank is an oddity. Both as a film and as a character. Ranging from ridiculous, to sentimental, to completely tragic, it's no wonder that such a bipolar character is based on the true story of the late Chris Sievey  - reality is always stranger than fiction. Our protagonist is Jon Burroughs, (Domhnall Gleeson), a twentysomething pencil pusher at a small town office in England. Wandering and wondering his way through life, the opening sequence of Burroughs waltzing through town trying to come up with song ideas is absolutely hilarious and completely relatable to anyone who has tried their hand at composing. Coming upon a fuss of emergency workers and bystanders, Burroughs discovers that a keyboardist for the latest band to come through town, the Soronprfbs, has gone insane and has jumped naked in the ocean. Seizing the moment, as the band watches their keyboardist float away, Burroughs casually mentions that he can tickle the ivories. Before he can blink an eye, he's onstage with Frank and his band, and in the process of recording an album with the Frank Zappa-esque goof troupe. 

     It's once Frank gets to a wooded retreat that the film really gets interesting. Renting out a cabin for months on end, the film really begins to shine as the characters grow and get to know each other. Frank is not so much a film about plot, (although it's plot is interestingly and tightly executed), but a film of characterization. Through Frank's facial dysmorphia, Clara's nihilistic self hatred, and Don's ashamed sensibilities, we see what it takes to be truly original. Yet, as the film shows, original doesn't always mean enjoyable, and pushing your creative limits isn't always healthy. The film takes the idea of creative inspiration and pushes it to it's limits. Frank may be a fantastic musician, but is it really appropriate for his band to take advantage of his creativity when it stems from a dangerous and vulnerable mental illness? As well, once Frank's fame begins to grow, the film becomes a poignant commentary on hero-worship and the grotesque nature of fame. As tensions grow and Frank begins to act more and more manic, the allusions to celebrities with mental illnesses becomes visibly apparent; Kurt Cobain, Amy Winehouse or Jimi Hendrix; Frank could be any one of them. With his outer head representing a false persona, the metaphors for fame become both figurative and literal. 

     The writing in the film is subtle yet enthralling. Quirky and poignant, the momentary, subtle minutia end up being the most important aspects of the film. It's a testament to the leads that such subtle moments, (like Frank and Jon discussing facial features in a joking manner, masking their terrifying phobias underneath), are believable. Domhnall Gleeson, of Harry Potter fame, is casually hilarious with his line delivery and ridiculous appearance, (his beard in the middle part of Frank would make ZZ Top jealous), and is perfectly cast as the protagonist of a film with a cast of oddballs. After his work in About Time, Harry Potter and Frank, I'm excited to see what Gleeson chooses next. Maggie Gyllenhaal, who is always dependable, is similarly committed here, yet her off-putting, selfish character is absolutely annoying, (another testament to her talent). Lastly, Michael Fassbender, (already one of the greatest actors of his generation at 37*), showcases another transcendent performance as the eponymous Frank. Spending most of the film behind a mask, Fassbender's vocal intonations, his body language and overall persona throughout give the film its tragic and compelling story heft. Like Frank's giant Papier-mâché head, the entire film rests on Fassbender's shoulders, and he holds up the film effortlessly. 

     Overall, this is a quirky film, and that can often be troublesome for cinema. Wes Anderson's lesser films have suffered from this 'quirk for quirk's sake' as well as Terry Gilliam's later projects. However, it's the jarring, terrifyingly real moments that make Frank stand out above it's counterparts. A jealous suicide, a violent come-on, and a confused, manic man all come at times when the comedic tension is taut, yet the punchline becomes completely tragic. It's been said that tragedy plus time equals comedy. In Frank, it's that second variable that hasn't quite reached it's breaking point - thankfully, that makes for a brilliantly quirky, and heartbreakingly blunt film. 

Grant's Rating: 4/5 Stars

Michael Fassbender and Domhnall Gleeson in Frank: "Welcoming Smile"

     

*Most great actors have a few brilliant roles and then fade into comfortable obscurity among financial security. For Fassbender this is not so; he continues to challenge himself, and has been doing so for just under a decade. Check out his definitive work in Hunger, Inglourious Basterds, 12 Years a Slave, and Shame.