BOULEVARD
US, 2014, 85 minutes, Colour.
Robin Williams, Kathy Baker, Roberto Aguire, Bob Odenkirk.
Directed by Dito Montiel.
While this is a small-scale drama, it is very effective nonetheless.
One of the regrets expressed at the time of the film’s release is that it was one of the last films that Robin Williams made before his final depression and suicide. While Williams had demonstrated that he was a master of comedy, a master of manic comedy, he was also very effective in straightforward dramatic roles like One Hour Photo, insomnia and this film.
Filmed in Nashville, Tennessee, it is the story of Nolan, a 60-year-old who has worked 25 years at the same bank, is now offered the prospect of becoming a local bank manager, has been married for many decades to Joy (Kathy Baker), affectionately sharing a great deal of their lives but also living rather separately in the same house. His mother has just died and he feels compelled, though no great affection for him, to take care of his dying father in a nursing home.
With these prospects, and his main friend, Winston (Bob Odenkirk), for many years as his main confidante for discussions and sharing views, his suddenly becoming aware that he is 60 and is wondering what has happened to his life.
At traffic lights one evening on the way home from work, he suddenly does a U-turn, passes a number of young hustlers on the Boulevard and stops, engaging one, Leo (Roberto Aguire) in conversation and driving him to a motel. It is clear to the audience, though not necessarily immediately so strongly to Nolan, that he is a gay man and that he is in need of some kind of affection and male contact. However, while he is willing to pay Leo, he does not want sexual intimacy.
And so begins Nolan’s journey of greater self-awareness, further encounters with Leo, including watching him fight with his pimp and Nolan being bashed himself, wanting to get Leo a job in a diner and disappointed when he fails to turn up, sharing stories. The main story he shares is with his father, the father lying rather helpless in his nursing home bed, his son explaining that from age 12 he was aware that he was gay but had not done anything about it – and the father refusing the straw for a drink and turning away from his son.
One of the hardest parts of Nolan facing his life at 60 is that he must leave his wife who loves him, who has chosen to marry him because she does not want to face reality.
Nolan is able to burn his bridges behind him, leave his job, leave his wife and home, learn from the disappointing disillusionment of failing to develop a relationship with Leo, and now accept the consequences of who he is and what he will be.
A variation on familiar material of a gay man in a marriage having to make a decision to find himself – but this story is told with empathy rather than sensationalism or prurience.
1. Robin Williams film? One of his last? Audience regrets at his death and his capacity for both comedy and drama?
2. Nashville, the city, homes, the bank, restaurants, the streets, apartments? The city, light and darkness, bright sequences, shadow sequences? The musical score?
3. Nolan and his story, Robin Williams, audience sympathy with him? Discovering the reality of his life, his behaviour, at age 60?
4. Themes of sexuality, Nolan and his life, age 60, married to Joy, loving her, yet separate lives, a kind of content yet anger? Audience response to Nolan and his encounters with Leo? Nolan’s story, recounting his life at age 12 to his ailing father, the father silent, refusing to drink, turning away from Nolan? Nolan at 60, having to face reality, the consequences?
5. Nolan and his personality, his mother’s death, his father’s illness and feeling that he had to care for him? The long marriage to Joy, sharing their life, love and affection, but separate? His work in the bank the 25 years? The job offer, his hesitation? The friendship with Winston, discussions with him, best friends for many decades? Meals at the diner? Nolan and his driving, seeing Leo, stopping, the conversation, Leo getting in, some companionship, no explicit sexuality or behaviour, no hesitation in giving money, the gift of the phone, the number, the calls, his continuing to pick up Leo, Leo ready for sex, Nolan not? Nolan returning him home, seeing him fight with his pimp? Nolan intervening and his injuries? Nolan and his lies to Joy, working back, going to the diner that was closed? The dates, going out, the fashionable dinner and the chance encounter with his bank manager? Leo’s reaction, the money, buying the video as a gift, the possibility of the job, going to buy the shirt, Leo not turning up, Nolan upset, reprimanding him, finding him with another client? The episode at the bank, the fight, asking for the money? Nolan saving Leo and his reputation? Preparation for the bank manager’s dinner, tying his tie, Joy, her going, the phone call, to the hospital, Leo and the overdose, his vanishing? The effect?
6. Joy, her character, her life, the long marriage, her part-time teaching, her reading, her marriage not being real and her having made that choice? Still loving Nolan? The domestic sequences, watching the Godard film and memories? Going away for the weekend? The final sequences of the break, her grief and hurt?
7. Winston, his friendship, talking, sardonic, the meals, his girlfriend, her job at the restaurant and helping Nolan for Leo, the walks, Winston sharing his advice with Nolan, going to New York?
8. Leo, his story, the hustler on the street, from Ohio, the background of his mother and her addiction, his leaving home? On the street, his being bullied by the pimp? Expecting sex, remaining impersonal? Gratitude towards Nolan, the gift of the video? But not turning up the job, the fights, the overdose – and his disappearance?
9. Nolan, his awakening at age 60, his behaviour, his needs, his acknowledgement of the truth about his orientation, his leaving his job, the consequences and his encounters with other men?
