Nocturnal Animals

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An austere, bleak meditation on revenge and the blurred boundaries where fictional and non-fictional lives intersect, Tom Ford’s long-gestating second feature, Nocturnal Animals (2016) comes with high expectations after the excellent Christopher Isherwood adaptation A Single Man (2009). But the promise created by an interesting premise and a fine cast is gradually eroded as the film’s complexities are revealed to be skin deep, whilst narrative holes flower up like fresh wounds, exposing a paucity of credibility and leading to a wilting anti-climax.

Based on a novel by Austin Wright, Ford’s film quickly establishes the apathy and ennui of gallery owner Susan Morrow (Amy Adams) who has emotionally disengaged, not only from her work, but also her relationship to husband Hutton (Armie Hammer). Then she receives a manuscript from her novelist ex-partner Edward Sheffield (Jake Gyllenhaal) who has dedicated his latest work to her and named it ‘Nocturnal Animals’, a term he often used to describe Susan during their time together. The film then effectively transforms to a story within the story as she dives into the book; the disturbing story described within forms the basis of much of the film.

A man, Tony Hastings (Gyllenhaal,) is driving through a rural landscape at night with his wife Laura (Isla Fischer) and daughter India (Ellie Bamber) when they’re almost run off the road by a couple of cars. Soon they’re hounded to a stop in the middle of nowhere and being physically and verbally threatened by a group of rednecks led by the recklessly dangerous Ray (Aaron Taylor-Johnson). Even worse is to come when Laura and India are abducted before Tony can escape and struggle to freedom where his case, through the course of time, is investigated by cancer-riddled detective Bobby Andes (Michael Shannon).

There’s a sense of aloofness established early on that distances us from these people, especially in the present world of Susan, their coldness permeating every verbal and physical inflection. Beyond these glimpses, the world of the novel brings the nightmarish existence of a single man into ever sharper focus as his torment grows exponentially. In some way, is this same striving for recompense also taking shape in the real world, with Edward using the novel as a way to ingratiate his way back into the Susan’s consciousness for some possibly sinister purpose?

The illusion of the fictional story prevents us from emotionally engaging with what we see on screen, as horrible as these events playing out are. The presentation of this story ‘within’ is also highly problematic in the most fundamental way with the ‘investigation’ becoming more ludicrous as it progresses. Unorthodoxy on the behalf of Bobby might be semi-credible but the method he undertakes is difficult to reconcile with any kind of believable notion of the measures and actions a police officer would take to solve a crime of this magnitude. Bearing witness to Bobby’s reluctant participation in Bobby’s displaced vendetta is both uncomfortable and grating for its blatant absurdity

Nocturnal Animals turns out to be a crushing disappointment, squandering talent in every aspect of the production. Composer Abel Korzeniowski, a rising star and shining light of film music in recent years, provides another classy, elegant score. The performances too are uniformly excellent with Gyllenhaal adding to his remarkable recent body of work, with another dark, powerful portrayal of a man driven to extremes. Adams has never given anything less than a great performance and she does her best work here in flashbacks which show the first blossoming of her relationship with Edward before external forces are set in motion, dooming their perfect love. But the drama fizzles out, the final scene a perfect encapsulation of sharply focused expectations tainted by an enveloping absence that pervades both narrative strands.

 

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