The Hero
Studio: Lionsgate
Sep 21, 2017 Web Exclusive
Four decades back, Western star Lee Hayden was somebody. Now in his early 70’s, he’s just an old man who used to be somebody, and, if his doctor is right, might not even be that for much longer. Brett Haley’s third feature reunites him with Sam Elliott after the two worked together on I’ll See You in My Dreams (2015), and was written especially for Elliott by Haley and Marc Basch. Aside from a few diversions into cliché, it’s a thoughtful and often painful look at an unfulfilled life running out of time.
Hayden’s (Sam Elliott) career is summed up succinctly in the opening scene. He’s stuck in a recording booth repeating the same line for BBQ sauce in his cowboy drawl. He looks bored, a look that’s likely followed him for years. The only thing he made that he was proud of was a film called The Hero decades back. Since then, it’s been steady work, a broken marriage (his ex-wife played by real wife Katharine Ross), and an even more broken relationship with his daughter Lucy (Krysten Ritter).
About the best friend he has is former child actor and current drug dealer Jeremy (Nick Offerman) who lives nearby and is usually available to get high, eat Chinese, and watch old Buster Keaton movies. It’s at Jeremy’s that he meets Charlotte (Laura Prepon), a stand-up comedian three decades younger, who starts up a relationship with him. A combination of their spark, and his battle to comes to terms with cancer make up the general arc.
As far as journeys into old white male ennui go, you can certainly do worse than pick Elliott as the protagonist. His casual style comes with great gravitas. Nothing he does is rushed or deliberately showy. His head swings slowly to fix on Charlotte when she enters. When thoughts wander he stares silently into the distance, eyes losing focus. This sparseness makes the breakdowns, and there are some, all the more devastating.
The Hero is very much Elliott’s film, and no one else gets much of a look in. Prepon is perhaps the exception, given just enough space to wriggle free from the usual young woman bucks up old man stereotype. She’s free to question, or not question what they’re doing, and often takes the lead. The biggest absence is Ritter’s Lucy, a character who inspires much of Hayden’s soul-searching while remaining out of the film.
Some of that soul-searching tips into tired imagery. Too often Hayden arrives at a beach to stand staring mournfully out to sea, the camera in love with lapping waves. Much of his journey feels similar, though there are nice touches along the way, particularly a lifetime achievement award event that goes mildly awry under the influence of drugs.
The revelations The Hero brings are nothing new. Solid direction, a strong control of pacing, and Elliott’s powerful performance make them hurt all the same.
Author rating: 7/10
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