THE ONLY LIVING BOY IN NEW YORK

US, 2017, 89 minutes, Colour.
Callum Turner, Jeff Bridges, Kate Beckinsale, Pierce Brosnan, Cynthia Nixon, Kiersy Clemons, Bill Camp, Wallace Shawn, Debbie Mazar, Tate Donovan
Directed by Marc Webb.

Innocent or naive? Quite a significant question that audiences will raise in getting to know this only boy living in New York City. He is 25 but the title is boy. And is he innocent or naive? Certainly awkward, gawky, not knowing the ways of the world but having to learn them. And, in what ways is he living?

There is a lot of voice-over in the film, welcome because it is spoken by Jeff Bridges who plays the next-door neighbour to the boy, tells his story, writes it – substituting for the boy’s own father, listening, counselling, a kind of father confessor as well a psychiatrist.

The boy’s actual father is a millionaire in the publishing business, an interesting character study from Pierce Brosnan. The boy’s mother is quite neurotic with a charm of her own, played by Cynthia Nixon. Their marriage is brittle and is on the verge of breaking, another woman.

The boy, whose name is Thomas, is played very effectively by Callum Turner (who, it turns out, was born in London). Actually, so was the other main character in the film, Johanna, a book editor, in complicated relationships with the father and the son, played by Kate Beckinsale. The other central character is Mimi, a friend more than girlfriend for Thomas (Kiersey Clemons).

It is surprising, with these complex characters, how much material is on-screen in just under 90 minutes, keeping audience attention, listening to dialogue which is well-written, often quite arresting and thoughtful. (The screenplay was written by Alan Loeb who has done quite a number of genre films as well as 2016’s somewhat pretentious Collateral Beauty – which means that the screenplay is quite a surprise.)

The voice-over has quite a lot to say about New York City and speculations about the soul of the city, the various trends, the shifting community, the art world, the drug addicts, the changes in neighbourhoods – which would make it interesting for anyone who has spent some time in New York City. One of the key sequences occurs at a Jewish wedding, a most elaborate event, with an unexpected philosophical speech by Bill camp as Uncle Buster. Not sure whether most of the audience will retain the extensive content of the speech.

There are some surprises in the screenplay and some twists that may or may not have been anticipated which gives something of a different perspective on some of the characters and their behaviour.

The title comes from a song by Paul Simon, sung by Simon and Garfunkel and incorporated into the screenplay towards the end of the film.

1. A New York drama? Memories of the later 20th-century? The changes in the 21st-century? Styles?

2. The title, Paul Simon song, the singing of Simon and Garfunkel, the song within the plot? The New York tone? Other songs? The background musical score?

3. The New York settings, streets and skyscrapers, apartments, offices, socials and weddings, restaurants?

4. The voice-over, information, tone – and the voice of the observer, the novelist?

5. Thomas and his story, the title of the film, his age, relationship with his parents, clashing with his father, protective of his mother? Work, study, his relationship with Mimi, sharing with her, her friendship, the decision to go to Croatia, breaking with her boyfriend? His father and the use of the word “serviceable�? His mother’s tension, smoking and drinking? Thomas living alone, the apartment, his prospects? His awkwardness, naivete and gawkiness?

6. His story, the narrative, the tone, information about him, his sitting with the author, unaware of who he was? The introduction, on the steps, the interrogation, the offer of a listening ear, counselling? The discussions, in the apartment, walking? Inviting the author to the party, his observing, disappearance? Thomas discovering his story, reading it? The identity of the novelist?

7. Thomas and Mimi, the restaurant and club, seeing his father with Johanna? His reaction? Concern for his mother? His continually following Johanna, his obsession? Talking with her in the street, a challenge? Johanna knowing who he was? The kiss? Leading to the affair, the effect on Thomas, on Johanna?

8. Johanna and her character, brought up in London, the move to the US, the work as a freelance editor, the contact with Ethan, in love with him, the affair with Thomas and its effect on her? The difference in age? Her going to the social, with the gay partner? Going to the anniversary party, the revelation and its effect? Her attitude towards Thomas? Love for Ethan?

9. The lengthy wedding sequence and its style, the crowds, Jewish, food, dancing, Thomas and Johanna, Mimi observing, their going away together, the sexual encounter? The place of the uncles lengthy speech?

10. Thomas’s mother, smoking and drinking, tense, going to the park, reading? Devotion to her husband? The celebration of the party?

11. Mimi, her return, with Thomas, the break, as a conscience voice for Thomas?

12. The revelation of the truth, the effect on Thomas? The surrogacy issue? Ethan and his wife, the novelist friend, the arrangement? The novelist withdrawing, observing his son from a distance, yet wanting to get closer, talking with him, writing the story?

13. Ethan, not creative, successful publishing, money, wanting his son to make decisions, offering a career in publishing? The relationship with Johanna? The separation from Johanna and from his wife – and his sense of freedom?

14. His wife, reunion with the novelist, her sense of freedom, joy?

15. Observation of human nature, in the New York City context, acknowledging that life is a mess but the only way out is through the mess?