Of course this film is a journey, a travelogue through time and space (the family's involved at the centre of the film move frequently, both geographically and in their formation). But seems more than that. It is a truthful effort to portray youth, and a more than decent amount of the troubles involved.
The time period over which the film is obviously the most focused on facet of the movie, and honesty, so it should be! 12 years is a long time normally, but in the world of film? Damn. That's a really long time. Most films usually take around a year or so to film, produce, and finish off. Not only must the contracting of the actors, several from childhood to adulthood, have been incredibly tough, but the effort on behalf of the actors, to stay focused on the role and story they are telling is truly impressive. They do a brilliant job, especially the children, Ellar Coltrane and Lorelei Linklater.
A crucial part of this story telling is found in the presentation of the images (obviously...), and the music which Linklater chooses to accompany these images.
As we as filmgoers have surely noticed, the quality of film images has improved ten-fold. Arguably, so has the music popularly consumed. Well, maybe...
Linklater could have attempted to review the images taken in 2002, and remastered them to near the quality of the images taken later. But he do not. And the visual reminder of the time passed is a true masterstroke, in my opinion. Similarly, the music is a great sonic cue which as well as conveying the mood of the characters as they grow up, casts us back to our feelings at the time that these songs were chart toppers. I for one can't help but think of my Year 8 form room, when a slightly younger Mason and his friends listen to Soulja Boy in the street.
These ideas and creative choices are what has led to such acclaim for Linklater and his team. They are what makes this film different, sure, but they are also what allows a film with a pretty ordinary plot become brilliant. Many of the things that one would expect in an American teen drama are present; underage drinking, light drug consumption, an absent father, and teenage troubles of break-ups and sibling rivalry. There's also a lot of the things that would be expected in a story told from the perspective of a mother in crisis, such as the incredibly touching scenes where the mother's mortality is confronted. The film manages to honestly and unashamedly capture family life.
This film could have been made with different actors for different ages, or hectic and brash costume and make-up changes (I'm looking at you, Benjamin Button). If it had done, it would not have been anywhere near as interesting. Maybe it would have been good, but surely not as good as it is with these courageous choices made.
This film gave me a lot. The story allowed me to reflect on my own life, and even taught me some lessons that my privileged upbringing maybe missed. That is truly where the beauty of this film lies. It is a tale of life, akin to Tree of Life, (a big statement, I'd say), that seeks to tell the tale of me life woven through many others. It achieves this, and much more. It tells an honest tale, delivered believably by a cast who all give world-beating performances.
There is a caveat, however. This film follows a Boyhood, and as a self-identified man, I perhaps am able to take more from this film that a female viewer might. I think their are realistic female characters included, such as Mason's sister. However it is an understandable complaint that this is yet another film centring on a young white male in America. Maybe Linklater should have stepped an inch further in his bravery, and followed a girlhood. That would be a very different film, but the argument is a valid one, that it may have given more. However, we must judge art on what it is, rather than what it is not (though sometimes the urge is otherwise, certainly and understandably).
Importantly, at least one scene, I don't want to ruin it for you, very nearly brought me to tears, on a plane (yeah, I saw it on a long flight). Now, I don't ever mind crying at films. But I do attempt to refrain from doing so on planes, simply for the comfort my neighbours. I can't imagine it would be too great for them to have to sit next to a blubbering wreck in the already strange situation that flying is. Certain scenes tested me to my very lip-trembling limit.
There's some incredibly touching moments here, and without the physical passing of time that this film centres around, they would not be nearly as powerful. If Linklater had used different actors, we would not have been able to connect with the characters so deeply. We would care less when we suddenly recognise a returning character. Instead, we greet an old friend.
Finally, gotta give a shout out to the awkward restaurant boss in the pink shirt. We all had a boss like that at the end of school, when we were trying to save some cash for uni/college. We all kinda hated them, but hey... They paid us! Great little inclusion, and performance. Same to the (slightly drunk) uncle. Gotta love 'em.
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