By Charlie Baker.
The mosh of recent history’s most unorthodox musicians is brought to life by Michael Fassbender… in a giant head.
Odd. Just odd. Beautifully odd, oddly odd. But real, weirdly odd. It’s a film that you watch the whole way through with the same facial expression, with the odd laugh here and there, and when it finishes, you’re not completely convinced the film was actually a film.
Domhnall Gleeson plays the fit, who tries to become a misfit, who is more Mumford and Sons than Captain Beefheart. He is the glue in a story that is basically played out as a tribute to how incredible ‘Frank’ is. Mentally unstable, possibly ill, ‘Frank’.
The indie-comedy-drama took home ‘Best Screenplay’ at the British Independent Film Awards last year, rightly so. It meanders around many topics, without looking at them so deeply it becomes about them. The desire to be loved is the main driving force of the film. Whether it’s by just one person or a wider audience. Maggie Gyllenhaal plays the latter just perfectly. A turn that sees her expand her horizons from ‘pretty, strong and clever woman’ to become this madly in love, slightly unstable girl.
Her performance is what I really took from this film. A lot was said about Fassbenders performance, which is a fantastic turn, but Gyllenhaal brings her character to life that does seem out of her comfort zone. ‘Clara’ is written so well that in the end, she brings the whole film together and without her, it would have just been a look at one guys struggle to fit in with the extra-alternative music crowd.
The end does start to edge the film towards desperation, throwing too many things into the plot, trying to make the film more exciting than it needs to be. It’s a crazy film, and, as much as I hate the saying, it’s a lot like marmite… In the end it’s a breath of fresh air, ‘Frank’ doesn’t try to be relatable or likable, which is the mantra of the whole film. If you watch this film for any reason, do it for Fassbenders take on the human face. It had me in stiches for days.
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