Review: “Nocturnal Animals”

Review%3A+Nocturnal+Animals

James Paradiso '17, Editor-in-Chief

Nocturnal Animals continues director Tom Ford’s saga of sad people living in beautiful homes. This film proves Ford’s masterful and distinct narrative, directorial, and cinematic style. This neo-noir Hitchcockian-like movie is profound enough to be labeled a cinematic landmark and perceptively striking enough to be deemed a visual exercise. It’s a worthy testament to the lost masterpiece of fiction Tony & Susan by Austin Wright, from which the film is adapted.

The film, as confusing as it may seem, stars Amy Adams and Jake Gyllenhaal and follows three storylines: the past, the present, and the fiction. After years of silence, the ex-husband, Edward Sheffield (Gyllenhaal) of Susan Morrow (Adams), a distraught, insomniac-ridden gallery owner, is sent a manuscript. The audience sees as Susan sees and reads finding the deeper, metaphoric meaning in the novel unfolding. In the past, Susan left Edward in a horrible way, one that she will be haunted by forever. The manuscript reads as so: Tony Hastings, also played by Gyllenhaal, is run off the road by three men when traveling to vacation with his wife and child and are ultimately kidnapped and tortured mentally and physically, leaving both Tony and Susan to reconsider their lives.

Ford has been a pinnacle in the fashion world since his turnaround of “Gucci”, but he has quickly become one of the most exciting directors with his melodramas A Single Man and Nocturnal Animals. His keen eye and attention to detail encompass this film. His ability to lay out clues all throughout the film perpetuate this idea of mystery and revenge.

With a story that could have easily been confusing, Ford lays out each storyline beautifully and makes sure that each story is clear-cut and distinct. A second viewing of this film proves as beneficial and modern as the first.

It’s the type of movie that is so cinematically profound the first viewing and, the more one contemplates what happened, it becomes even greater.

Gyllenhaal has been equiset in his recent thrillers Prisoners, Enemy, and Nightcrawler; Nocturnal Animals continues his streak of profound ability.

Adams, while being somewhat limited in her space of acting as Susan, flourishes in the few moments of rage and frustration, especially with her mother. Ford takes advantage of one of Hollywood’s greatest jokes: the uncanny likeness of Amy Adams and Isla Fisher. As incredible a main cast as this is, the supporting cast shines even brighter.

Michael Shannon, Aaron Taylor-Johnson, Isla Fisher, Armie Hammer, and Laura Linney bring outstanding work to this film. Nocturnal Animals deserves such praise for being so bold and abnormal while utilizing the top actors of our time.

Everything is taken into account in this film, even down to the make-up and set design. Adams’ makeup is a replication of her character emotions. As Susan ages, she begins to shield herself in more makeup but it later starts to crack and wipe away in depression.

Nocturnal Animals’ score of stirring cellos and fragile violins is  reminiscent of Bernard Herrmann’s in Psycho but brings about energy and newness akin to the work of Ludovico Einaudi. In a pivotal scene, Abel Korzeniowski laces the horror and urgency with his tour de force entitled “Off the Road”. Much like tension arising in the car chase, the violins rise to meet to stressful and haunting cello. “A Solitary Woman”, possibly an ode to A Single Man, continues Ford’s debut film’s musical style. “Table for Two”, showcased in the movie’s ambiguous final scene, reminds one of Hitchcock’s muses; the age-old romantic pairing of rhythmic violin and piano never fails to bring about nostalgia and reflection.

A few critics laughed at Adam’s portrayal of someone reading a book–breath racing, heart pounding, frequent dropping of the manuscript–but what those critics fail to realize is that that is how one read Tony & Susan. It truly is a hidden gem in the thriller genre. Hopefully this cinematic beacon will bring about new appreciation and readership for this superb piece of literature.

I’ve been following this movie since its beginnings in production. Following his acclaimed A Single Man, Tom Ford soon became one of my most preferred directors. Jake Gyllenhaal, one of the most talented actors of this generation–and my personal favorite–has proved time and time again to startle and surprise me in his filmography. Amy Adams, as well, has proven her incredible ability with her stellar performances in recent years: Big Eyes, American Hustle, and Arrival (also released in 2016!).

So whether it be my bias lense, the novel’s intoxicating trance and hold it has on me, or this film’s cinematic beauty, it definitely is, or rather, should be, a frontrunner in this year’s award circuits.