The Father: 2021 Academy Awards Season in Review
Screenwriter and film fanatic, Jordan Criss, reviews this year’s Academy Award nominees and winners, starting with The Father. The Father was nominated for: Best Picture, Best Actor*, Best Supporting Actress, Best Adapted Screenplay*, Best Film Editing, & Best Production Design.
* = Winner.
It may be redundant at this point to comment on the peculiar effects this past year has left on all of us. We hear it time and time again but upon reflection, I can’t help but obsess over the consequences it left over the film and television industry. From delayed shootings (Handmaid’s Tale, Queer Eye) and canceled programs (I Am Not Okay With This), to the impending doom that would become Hollywood’s end; needless to say, this has been a stressful time for fanatics. I can’t rightly think of another time in my life where I was truthfully worried about the future of one of my favorite art forms. Honestly, that fear hasn’t completely relinquished its hold on my psyche but press on I must.
A glimmer of optimism, however, does stem from the various pieces that have come up in this time. Long running shows like Shameless (which just celebrated its series finale) and Grey’s Anatomy have adapted their writing to reflect the times. Others have manipulated safety protocols to effectively deliver immersive stories, even within these parameters. It’s honestly a beautiful thing to witness – the mind of creatives never ceases to amaze, and with all its persevering success, we as fans were able to celebrate the upper echelon of the art: the 2021 Academy Awards.
Although there has been some critique of the ceremony itself – which I’ll save that discussion for better minds – I hope to focus on the absolutely beautiful art that it is judged upon. Personally, this time of year is exciting. Ramping up to the ceremony, I try to cram in as much of the material that I have yet to see. More often than not, my interest is peaked, my impressions compounded, and my inspiration exponentially multiplied. This is a celebration of the pinnacle of cinema – creative minds perfectly harmonizing with masterful skill to conjure stories that ring true. And although there may be hiccups in what an individual believes should’ve been considered, it is impossible to deny that they tend to get it right. This year was no different.
2021 featured a bevy of masterpieces – each viewing left me believing, “this is the one.” I initially wanted to do an overall review of each category and its components, but I’m finding that some entries deserve their own respective reflection. This year’s winner for Best Adapted Screenplay deserves the primary honor.
There were a multitude of reasons that led to The Father commanding my attention. As a screenwriter, the nominees, and winners for Best Adapted and Best Original Screenplay (Promising Young Woman) usually draw me in first. Emerald Fennell’s entry drew me in early, catapulted by the raving hype around it, and although this film deserves a lengthy review of its own, The Father’s sneaky run to success stole my interest. The arguably surprising win for Anthony Hopkins for Best Actor over the late Chadwick Boseman (Ma Rainey’s Black Bottom) only commanded my attention more. Was this only another unfortunate bout of alleged prejudice within the Academy or did Hopkins truly deserve the honor? I had to know.
I had known next to nothing about this film going into it – I often prefer viewing films with no preconceived notions. However, within the first ten minutes, I was fully aware of what I was in for. This was to be a claustrophobic and frustrating ride within the confines of a deteriorating mind. Anthony Hopkins plays Anthony, an 80-year-old father (duh) with dementia. His daughter, played by the brilliant Olivia Coleman, desperately aims to find care for her father while trying to enjoy her own life. To her dismay, his fits of temper and confusion render him incapable and - more so - unwilling to accept the help. It’s a chamber drama, with surprising suspense and uneasiness that renders the audience guarded and vulnerable simultaneously.
Although the plot alone is entertaining enough, the designing principle is the real masterpiece here (outside of performance). The source material - Zeller’s 2012 play, Le Père – won several awards of its own merit for the execution, one that many would believe to be best viewed on the stage. But what transpired via the screen was truly mesmerizing. Not only are we witnessing a troubled man dealing with his villainous mind, but we are stuck within it – accompanying Anthony on his journey side by side. As his mind plays tricks on him, it deceives us too. Major kudos to the production designer, Peter Francis, and the cinematographer, Ben Smithard, for creating an enclosed set that we meandered through utterly confused. I found myself asking, “wait, weren’t those walls a different color?” As Anthony’s memories betray him and his sheltered world shifts and adapts against his will, the same happens to the audience. It’s subtle yet doesn’t aim to deceive for the sake of it. Some scenes become a palindrome, often cued by a beautiful score (seriously, the score is absolutely perfect – bravo to Ludovico Einaudi) that leaves the audience's mouth agape. I cannot stress enough, as a writer, how unendingly impressed I was.
Aside from the amazing creativity to tell the story, the performances by the actors were a masterclass. Aspiring actors, take note: this is what it means to embody a character. Hopkins may have delivered the most vulnerable performance in his illustrious career, becoming the oldest person (83) to receive the Academy Award for Best Actor. He flows through fits of rage, confusion, and charm all while remaining sympathetic to the viewer. It’s as if his character wants to be accepted and seen as normal by those around him – as if he knows his mind is betraying him – yet remaining his stubborn and self-sufficient self. But - as with all of us - his armor is not perfect, as he clings to his daughter. Not to be undone, if Coleman didn’t deliver such a raw and relatable character, then the film might have fallen flat. If Hopkins was the ship, Coleman was the sails, guiding him through Zeller and Hampton’s winds.
Although nominated, unfortunately, The Father was not graced with a Best Picture win. I don’t necessarily disagree with the decision – the difference in scope of both films might have given Nomadland the edge – but that is not a strike against this tremendous film. From superb writing and storytelling, deliberating direction, design, and cinematography, and performances, we have been graced with an amazing heart-wrenching film that jerks at our minds and emotions. I may enjoy a vast majority of films, but it is not often that I’m left utterly impressed; this was one of those times and it reminds me that no matter what current situations in the real-world present, when a story rings true, it’ll touch our hearts in ways reality couldn’t hope to grace.
Watch The Father
Anthony is 80, mischievous, living defiantly alone and rejecting the carers that his daughter, Anne, encouragingly introduces. Yet help is also becoming a necessity for Anne; she can’t make daily visits anymore and Anthony's grip on reality is unravelling. As we experience the ebb and flow of his memory, how much of his own identity and past can Anthony cling to? How does Anne cope as she grieves the loss of her father, while he still lives and breathes before her? THE FATHER warmly embraces real life, through loving reflection upon the vibrant human condition; heart-breaking and uncompromisingly poignant – a movie that nestles in the truth of our own lives.
More reviews from Rotten Tomatoes
Available to rent on Amazon