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NOWHERE BOY Sam Taylor Wood Starring Aaron Johnson Kristin Scott Thomas Anne-Marie Duff Focusing heavily on the pre-Beatles era and the strange relationships with the women John Lennon called Mother, Nowhere Boy is one of those biopics that is simultaneously both innovative and daring as well as exceedingly dull. Tackling the darkest days of Lennon's troubled upbringing (little known to those immune to the effects of Beatlemania), the story introduces the audience to a mischievous young man [Johnson] with little-to-no direction. Following the death of his beloved Uncle, John rebels against the stern upbringing of his Aunt Mimi [Scott Thomas] and seeks out his estranged mother, Julia [Duff]. In an attempt to find himself, John spends more and more time with his mother in scenarios that bear closer resemblance to a date than family social outing - it was from this relationship that he developed his fondness for rock and roll. Disenchanted with school life, John forms his first band but The Quarrymen and his introductions to Paul McCartney [Thomas Sangster] and George Harrison [Sam Bell] are almost side-notes to the interactions between Lennon, his aunt and mother. After all Nowhere Boy is, first and foremost, a story of John Lennon minus The Beatles. As stated in this review's opening, this film is going to really polarise viewers. On one hand you will have those who see it as a tender and honest telling of a talented young man, frustrated with his place in society and the dark clouds generated by his early years. Whereas others will see it as little more than a desperate attempt to stretch out a few key events in a young musician's life. In all honesty, this movie is a combination of both, incorporating healthy doses of fact whilst subtly leaking nostalgic traits and elements of the now world-famous icon. Unlike certain releases in which it's quite difficult to ascertain exactly where the movie went right or wrong without sufficient thought and study, the pros and cons of Nowhere Boy are blatantly obvious. The film does exceptionally well with production value, cinematography, set design and costumes - all of which are utilised to give a vibrant impression of the changing landscape of the working north of England. In addition to this, the score is a pleasant mix of energetic period rock pieces and an almost ominous orchestral element. As far as the acting goes, the cast offer wonderful performances but curiously it is in this area that the movie suffers somewhat; not so much with the acting but with the casting. I'm not saying that the young sprats hired to play the iconic roles of Harrison and McCartney weren't good but if their only purpose is to serve as a cameo-to-supporting role then why not cast actors who look or sound like their counterparts? In addition to this we have the rather chaotic pacing; I was fully aware of what director Sam Taylor Wood was going for with the brief flashbacks, alluding to John's initial separation from his mother but without an overly clear sense of direction, the whole effort seems to stagger towards Lennon's fateful introduction to McCartney. After a good twenty minutes, the manic pacing returns as the plot stop-starts its way to the eventual finale. Finally, we have the few liberties with timelines (events that took place when Lennon was 11 are held off for dramatic effect) and a neat sense of familial closure that felt just a tad forced. Granted, it's an imperfect release but as far as Beatles biopics go, this one has the most heart and best intentions. If anything, I would imagine most audience members are going to make slight complaints about their frustrations with the lack of overtly obvious Beatles references and the fact the film ends as Lennon makes his way to Hamburg (essentially, when the good stuff kicks in) but in lesser hands this project could have easily fell flat on its face. Thankfully, it's a rather charming and emotionally injected flick that serves as a welcome introduction to the man John Lennon became. Release Date: UK - 26th December 2009 US - 15th April 2010 The Scene To Look Out For: Two scenes in particular stick out in my mind. The first is the banjo playing montage, which takes an almost dated approach to the passage-of-time sequence without feeling in any way clichéd and the second is the moment when Lennon clocks (that means 'to punch') McCartney. The relationship between the two musicians is significantly down-played but at the same time the audience want to see it, so any brief chance to watch these familiar characters interact sent a series of smiles and nods throughout the cinema. Notable Characters: Aaron Johnson more than proves himself here by imitating Lennon's personality without over-impersonating his accent and mannerisms - it may not sound like much but it is an absolutely crucial element to the success of any biographical flick. It has to be said, he annoyed the piss out of me in Shanghai Knights as Charlie Chaplin but with this performance and his presence in next year's Kick-Ass, I wouldn't be surprised if he does quite well for himself. Highlighted Quote: JOHN: I present to you.. Mr. Paul McCharmly PAUL: Thanks, John. Kind words JOHN: I didn't mean them In A Few Words: "An interesting insight into the early years that shaped Lennon but far from perfect, suffering heaviest when addressing editing and flow" Total Score: 
7/10Matthew Stogdon |
