BRIGSBY BEAR
US, 2017, 97 minutes, Colour.
Kyle Mooney, Greg Kinnear, Claire Danes, Mark Hamill, Jane Adams, Matt Walsh, Michaela Watkins, Ryan Simkins, Jorge Lendeborg Jr, Adam Samberg.
Directed by Dave Mc Cary.
A film reviewer should never be lost for words. But while – and after – watching Brigsby Bear, what is one to say? Yes, it is best seen without preparation and reading reviews afterwards.
The first thought is to alert audiences looking for a cuddly film for the children and the family, a kind of cuddly Paddington, this is not it. The second thought is that this film is likely to become a favourite cult movie, screened at special timeslots, drawing in an audience who may want to see it again – and again (and they may not be all that dissimilar from hero James and his friends).
In a sense, watching Brigsby Bear is something of an emotional and intellectual journey. At the opening, we’re watching a television program on a small screen, a very elementary animated series, very limited effects, a couple of human images, but generally Brigsby himself, going on a quest and confronting the Sun who turns out to be a villain. The episode we’re watching – as is James, about whom in a minute – is from volume 35 on VHS, shelving around James’s room piled with VHSs. Who is he? What is he watching? And why is he enjoying it so much, absolutely identifying with characters and situations?
James is a young adult, living with his parents, underground, isolated, with an enclosed observation tower – but when the father goes to work, he has to wear a gas mask. Are we in a post—apocalyptic situation? Well, for James, it is.
It quickly emerges, when the police turn up, James was abducted as a child and shielded by the eccentric abductors, who created the series of Brigsby Bear for him and the two are experts, as is James, on all the esoteric, names, characters, instruments, situations to be seen on screen.
Most of the film, in fact, is the story of an innocent abroad. James goes back to his birth parents who underestimate the sheltered, extraordinarily sheltered, life he has led. He himself is rather ingenuous, rather eager to discover new things but hanging on to the reality that Brigsby’s story is the key part of his life.
He does make some friends, discovers some contemporary mores amongst young people, parties, drugs, sexual behaviour, but in some ways is able to transcend them. And, believe it or not, in his telling the tale of Brigsby, the young people become fans. What is James to do but to make his own film about Brigsby. Thank goodness for Google where he is able to find all the necessary information about filmmaking, editing, and even tracking down the young woman who had appeared in the television series.
This is a cheerful and optimistic film despite James having his difficulties, his making friends with the acting-aspiring detective, Greg Kinnear, and the serious therapy sessions with Claire Danes.
The creator of the story is Kyle Mooney (a Saturday Night Live alumnus, so ready wit offbeat humour) who collaborated with the screenplay and takes the part of James. He makes this character extraordinarily credible, playing it straightforwardly, no mugging or winking to the camera. This makes the film more affecting.
Mark Hamill and Jane Adams play the abductors. Matt Walsh and Michaela Watkins his parents, Ryan Simpkins his sister, Jorge Lendeborg Jr his sympathetic friend and collaborator. And, one of those things one might notice, Kyle Mooney, Matt Walsh and Greg Kinnear are all left-handed!
There is a lot to enjoy about Brigsby Bear with all its eccentricity and, especially, James’s final cinematic success, and, quite a lot to think about, human nature, the effect of upbringing and emotional abuse, parenting and enabling young people to be themselves and to grow.
1. The reputation of the film? A cult film? A film about imagination?
2. The contribution by Kyle Mooney, the story, co-writing, performance? His background in satire and Saturday Night Live?
3. An American story, post-apocalyptic, the nature of the shelter, the interiors, James’s room, the basement? Upstairs, the roof, the enclosure? The contrast with the ordinary American town, Utah, homes, police precincts, student parties, the countryside and the salt lakes? The mental institution? The cinema? The musical score?
4. The title, the introduction to Brigsby, the animated film, the character? The elementary style of the animation? Brigsby and his quest? His voice? The numerous episodes, the adventures, the sun as a villain, the girls and their presence? The language, the jargon the gadgets, futuristic, science-fiction?
5. James, his age, his room, watching the television, the shelves with all the VHS cassettes? The years of episodes? His knowledge of them? His parents, Ted and April, the discussions with them? His computer, his contacts and communication? Going to bed, masturbation, the power going out? The meals, the blessing and the signs and handshakes, the talk? Ted going out, wearing his mask? April and the mathematical formulas? The shelter and the roof? The isolation? James’s worldview?
6. The arrest, James on the roof, the police, his reassurance? The detective, the explanation of what had happened? His abduction? Being taken to his parents? Their long search and its effect? His parents as characters, their love for him? His sister, her offhand reactions?
7. James as an innocent abroad, his new home, his new room, the meals and the food, his father drawing up the lists for activities, trying to play basketball? James, the truth and his adaptation? His preoccupation about Brigsby? His knowledge and worldview – the touch of the autistic? His sister inviting him to the party, meeting Spence, the discussions, the approach of the girl, sexual? The drugs, sexuality, his passing out, on the floor? Telling Spence the Brigsby stories, Spence interested and supporting him?
8. The decision to make the film, Googling the information? The detective, the stored equipment, the detective and his friendship, getting the equipment? Writing the script? Spence and the animation, the camera work? The group forming, his sister and her friends, their getting interested, the young man and his martial arts, the scenes? All the filming?
9. The detective, his personality, the interviews, discussions with James, his acting in the past, Prospero and The Tempest? His audition? Taking the equipment, giving it to James? The other detective, the situation with Brigsby?
10. The therapist, her visits the house, the sessions, her aim with the therapy, weaning James from Brigsby? The further meetings? His going to the institution? Life of the institution, the meetings with Eric, his personality, his help? The television set through the window and his escape?
11. Tracking down the girl in the film, at the diner, her memories, her son, at the premiere?
12. Completing the film? Visiting Ted in prison, the discussion, recording his voice as Brigsby? Everybody participating? The gathering at the cinema, the family together, Spence and the friends, Spence and his concern, James in the toilet, sick, worrying? The achievement of the film? The standing ovation for James?
13. The moral of the story, the strangeness of the abduction and the psychological abuse of James, the imprisonment of the abductors? Yet family life, the difficulties of adapting, the role of Brigsby Bear, the elementary animation – but an achievement? A future?
