NIGHT MOVES
US, 2013, 112 minutes, Colour.
Jesse Eisenberg, Dakota Fanning, Peter Sarsgaard.
Directed by Kelly Reichardt.
Night Moves is a drama that could divide audiences. A smaller audience will be impressed by the themes and the very measured treatment of issues and characters. A larger audience will find the film far too slow, no adrenaline-pumping, and will be bored.
The reason for the different perspectives audiences is the director herself, Kelly Reichardt. She has made comparatively few films, but there have been critically well-received, Old Joy, Wendy and Lucy, and a film which drew much more favour from audiences as well as critics, the story of a pioneering group moving west in America in the 19th-century, Meeks Cut-off. Kelly Reichardt is a contemplative director, in no hurry, shooting tracking sequences which are very long, other shots dwelling on characters and nature, and a very low-key musical score, quietly instrumental, especially with piano. She is also her own editor, determining the lengths of the shots and the pace of editing. It is easy to understand why she has only a cult following.
This is an echo-protest story. The audience is immersed directly into the plot rather than given any explanations about the central characters, their motivations for protest, their going into dramatic action. We see them contemplating a dam and the water spill. We see them going to the screening of a film about the environment and the destructive threats, with something of an apocalyptic touch, while the director urges her audience to perform small and significant protest-action.
The two central characters, Josh, Jesse Eisenberg doing his expected quiet and jittery performance, and Dena, Dakota Fanning now an adult actress after her years of child-star success. The third member of the group is a former marine, who spent some time in prison, Harmon, played by Peter Sarsgaard. Time is spent watching Josh and Dena bargaining to buy a boat which they will use, packed with explosives. Harmon is the coordinator of the action, which requires Dena to go into a store buy 500 pounds of ammonia fertiliser, resisted at first, but finally persuading the salesman with the help of some friendly locals.
The action scene is, in fact, minimal. the trio simply sail to the dam wall, leave the boat, packed with explosives, paddle canoe to shore – but with some tense moments as a car pulls up in the distance. We look at the car and the man from the same distance as the trio. They decide to go back to disarm the bomb, but the man finally drives away and, mission accomplished.
After the action, the film slows again to its meditative pace, even though Josh is nervy. Dena becomes more frightened and reclusive, some minimal contact by phone with Harmon. With news of a fatality, the impact is stronger for both Josh and Dena.
There is a shock sequence which will leave audiences wondering about Josh and his character – and then the film just stops, dramatically, leaving the audience with issues about empathising with the characters, with their action, or not. The film leaves the audience with numerous challenges and numerous questions about the environment, about protest, about “theatrics” rather than solid demonstration.
1. The impact of the film? Eco-protest? Drama, thriller? Message as well as critique of protesters and their motive protest, “theatrical”?
2. North-western US, Oregon into Wyoming? The towns, farms, dams, the countryside?
3. The director, her pace, contemplative , measured, the longer shots, her editing? The low-key musical score?
4. The cast, their careers, expectations of them?
5. The title, the action, the name of the boat?
6. The introduction, Josh and Dena at the dam, contemplation, the brief conversation, the return home, the long sequence of buying the boat, bargaining, the owner, letting it go? Speculation about their action, the motivation? Their attending the meeting, the showing of the film, the director speaking, the touch of the apocalyptic, possibilities action, questions about big movements, the director and her talk about small effective action?
7. The lack of explanation about Josh and Dena, what brought them to this stage of protest? The contact with Harmon? Little explanation about him except to say marine, that he was in prison? His personality, his untidy home, the contact, the ways of communication between the three? The definition of the plan, the dam, no one to be hurt, transforming the boat, the interactions together during this period? Getting the false ID?
8. The issue of the fertiliser, Dena going to the shop, her strong-minded spiel and action, her explanations about the vegetables and the needs, times, expectations, harvesting? Not having the documents? The man in the store, his strict observing of regulations? Dena going back to the car, the strategy of going back to the store, the men coming in, the discussions, success? Going home and packing the bags, putting them on the boat, ready for the explosion?
9. Josh, Jesse Eisenberg’s screen presence, taciturn, nervy, introverted? The same kind of character? His work at the farm, the vegetables? Mysterious motivation? His relationship with Dena? Jealousy of Harmon? With Harmon, often matter of fact, the driving, the dangers?
10. Dena, rich, the reasons for her participating in the action? Harmon and his control?
11. Travelling to the dam, towing the boat, leaving the vans, putting the boat in the water, the action at night? The boat at the dam wall, the canoe, the car arriving, the audience watching the car and its lights from their point of view, going back to the boat, thinking to dismantle the bomb? The car going, their going to land, getting into the vehicle, hearing the explosion? The long drive back home?
12. The return home, separation, not wanting contact? Everything normal, the workers of vegetables, social life, meals?
13. The television news, the death of the victim from the flood, the reactions of the family, Josh?
14. Josh, his nerves, anxiety, any conscience pangs? The phone calls to Harmon? Dena, at home, upset? Explaining herself to the other members of the family? The dangers of the revelation?
15. Josh, any pangs of conscience, his confronting Dena? The scene at the spa – and the opening with the women at the spa? Josh and his fears, killing Dena? Audience shock at this?
16. Josh being asked to leave, the people suspicious, not wanting to ask questions, his leaving, driving away, going to the store, looking around the goods, the application for the job, the questions on the form and his looking at them, the possibilities for his filling them in – or not?
17. The film suddenly stopping, the range of questions posed to the audience, the challenges about issues, personalities, protest, the use of theatrical events to make a point?
18. A slow-moving film, measured, contemplative, giving the audience opportunity to empathise or not with the characters, consider their action and motivation, and the final questions they were left with?
