The Father (2020)

An old man who refuses his daughter’s help feels like he is losing the earth under his feet when his home and the people around him constantly change.

A soul-destroying cinematic realism when your life comes crashing down. Based on the homonymous play by writer/director Florian Zeller and co-writer Christopher Hampton, the cinematic adaptation resembles a play, and the interchangeable locations 1 and 2 confuse as much as the restricted narrative dictates. Anthony’s condition does not cause The Father‘s suspense; how it affects him, and the people around him cause it. Moreover, as it is an extremely sensitive subject, it is also caused by how Zeller approaches it and how Sir Anthony Hopkins delivers it. Ultimately, as the narrative unfolds, the nail-biting suspense is caused by the heart-wrenching drama that raises the question, what will become of him?

The Father‘s full force hits you on two levels: One, on the level of having a beloved person suffering from it. In this case, you are experiencing their transition from one of the most dynamic people in the world and, maybe, your true inspiration in life to someone you wish they never become; someone who doesn’t recognise you anymore and… you don’t recognise either. Two, on the level of suffering it yourself. In this case, whoever you may have been is no longer. Dishevelled, helpless, or “losing all your leaves” may be ways to describe it, but no one has or ever will be prepared for when it, unfortunately, happens.

Either way, no one should ever wish it to their worst foe, but fortunately, word has it that, around the date of this review, certain scientists may have had a significant breakthrough. I truly believe that all of us, no matter where we are in the world, no matter how we look, whatever we believe in politically or religiously, regardless of our sexual orientation, are keeping our fingers crossed and our hopes high. Remember, no disease has ever discriminated.

Excellent music by Ludovico Einaudi! Feel free to listen to the film’s soundtrack over and over again. Extra credits go to Cinematographer Ben Smithard, Production Designer Peter Francis and editor Yorgos Lamprinos. “Anthony” is named after Hopkins himself, the first and only choice for Florian Zeller. If it weren’t for him, he would have adapted it for the French audience, and even though I’m positive the experience would have been equally shuttering, it would definitely be different. Olivia Colman, Olivia Williams, Rufus Sewell, and Mark Gatiss have great chemistry with each other and deliver powerful performances. They are absolutely amazing. In the end, Sir Anthony Hopkins’ performance will break you, take your breath away, and maybe make you reevaluate your life’s journey from the moment it started to where you are now to where (you think) it’s heading.

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Solidarity for all the innocent lives who suffer the atrocities of war!

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