THE HUMBLING
US, 2014, 112 minutes, Colour.
Al Pacino, Greta Gerwig, Nina Arlanda, Dylan Baker, Charles Grodin, Dan Hedaya, Billy Porter, Kyra Sedgwick, Dianne Wiest.
Directed by Barry Levinson.
The Humbling is an opportunity to see Pacino as he moves towards his mid-70s, a film for his fans rather than the general public. The film has been directed by Barry Levinson, writer turned director for film and television, winning an Oscar in 1988 for Rain Man.
Pacino plays an actor past his prime, reciting the lines about the ages of man from Shakespeare’s As You Alike It – and the film ending with the death scene from King Lear. The actor is disturbed, has nightmares – including finding himself, like Michael Keaton in Birdman, out in the street and unable to get back into the theatre. During his performance, he falls prostrate into the orchestra pit. This leads him to an institution and therapy.
At the institution, he comes across a fan who says everything is perfect in her life except for the fact that her husband has abused her daughter. She is mad and continues to make proposals that the actor become a hitman for her.
Therapy is conducted with Dylan Baker, sometimes in person, sometimes by Skype.
Matters become more complicated when he is visited by the daughter of a fellow actress, Dianne Wiest, played by Greta Gerwig. She starts to take over his life and, though a lesbian, with a jealous partner, a lecturer played by Kyra Sedgwick, she has an affair with the actor. He is taken to task by her parents – and at the end, we realise that she has something of a life of her own and that we have been watching her through the eyes of the actor.
His agent is played by Charles Grodin and has an offer of being in a commercial or doing King Lear on stage. He opts for the latter – and, with Lear, he has his own death scene.
1. An actor in crisis? Mental, career, identity?
2. The film based on a novel by Philip Roth, Roth and his issues, the adaptation?
3. The title, the experience of Simon Axler? Humiliated by himself, by others, audiences?
4. The world of the theatre, the mental institution, the home, woods, the vet, hospital… Simon’s world?
5. The Shakespearean basis: the opening, Simon rehearsing, the close-ups in the two mirrors, the speech from As You Like It, the character of Jacques, the quote, the Seven Ages of Man? The end, the performance of King Lear, Simon as a Lear on stage and in life? His masks of comedy, tragedy? The finale, his death?
6. The close-up at the beginning, Simon and his reflections, rehearsing? His nightmare, in make-up, outside the theatre, looking in, the posters, his being refused entry? Waking up? His cue, his speech, the performance, falling into the pit, audience reaction?
7. Going to the institution, the meetings with Dr Farr, the Skype contacts? Simon telling his story, the doctor listening, the doctor making suggestions, Simon’s reflection? The nature of the therapy, probing Simon’s character?
8. The group therapy, the room, pills and his sleeping, the group of and his very long speech, self-knowledge? The comments to the group about acting, his proneness to perform for an audience anywhere? The Skype camera and his comment about performing to camera?
9. The encounters with Sibyl, seemingly normal, joining him, the meal, befriending? The talk, a perfect world, a perfect husband? The story of her discovering her husband molesting their daughter? Wanting to kill him? Offering Simon the job? The memories of seeing him in a film? His refusal, his claiming that it was a fiction? The continued visits, in the woods, offering cash, not understanding refusing to understand what he was saying? Continuing with fan letters? Her killing her husband, the arrest, on television? The police and the interrogation of Simon? The dangers of this kind of mad stalker?
10. Gerry, Simon’s agent, collecting him, going to his house, only downstairs after 14 years? The option for the advertisement and King Lear ? Simon’s choice, Gerry in the audience, applauding, saying that it was the greatest moment?
11. The arrival of Pegeen, her age, at the University, the story of a long crush, his acting with, away from her parents, not informing the? Lesbian, relationship with Louise, previously with Prince? Her being with Simon, the sexual relationship, questioning sexual choices? Coming to the house, and his relationship, going shopping, spending money, heating the swimming pool, the control? Simon and his wanting to have a relationship, the talks with the therapist? The housekeeper, her comments – and later the inventory of the sexual material?
12. Louise, frantic, outside the house, anger, the relationship with Pegeen, the sexual relationship, Louise and her dependence?
13. The arrival of Priscilla, turning into Prince? The transgender surgery, his wanting Peggy to be present, her reluctance? The pathos of his visits, Simon’s response? Saying that her former lover no longer existed?
14. The visit of her parents, memories of the past, the mother and her denunciations, running over the cat, taking it to the vet, Simon’s injection and his slurred speech, the mother’s reaction? The nightmare, meeting the mother, talking about Simon and their affair, her marriage, the months, Pegeen being his daughter, resembling Simon?
15. The variety of nightmares, compared with reality, the girl at the bar and his sitting at the stairs, dreaming of the tour of the house? The attraction between the two women and their behaviour?
16. The effect on Simon, self reflection, the offers, thinking about the ad, refusing, deciding on King Lear?
17. Rehearsals, performance, imagining Pegeen’s mother?
18. Pegeen, the breaking with Simon, her more realistic approach to life, the harshness of the break?
19. The end, the performance, the knife, the bewilderment of the actors, apprehensive audience, his stabbing himself, his rising up, the blood, collapse and
death?
20. Al Pacino, an actor reflecting on life, despairing?
