ABOUT A BOY
YOUNG BRIT NEWCOMER WOODY NORMAN STEALS THE SHOW OPPOSITE OSCAR WINNER JOAQUIN PHOENIX IN THIS DELICATE DRAMA
C’MON C’MON (15) ★★★★I
WHEN comedian and actor WC Fields reportedly coined the showbusiness mantra to never work with children or animals, he clearly wasn’t referring to 12-year-old British actor Woody Norman.
The cherubic wunderkind sports a flawless American accent and merrily steals scenes from Oscar winner Joaquin Phoenix in writerdirector Mike Mills’ bittersweet and life-affirming picture, which explores the bond between a radio producer and his precocious nephew.
Shot in lustrous black and white (a stylistic choice in vogue this year), C’mon C’mon charms and breaks our hearts through delicately staged conversations between the characters, which have the casual flow of documentary film-making rather than scripted drama.
That naturalistic vibe is enforced by footage of Phoenix’s protagonist interviewing real children from different cities across America about their feelings and fears.
The children’s articulate and occasionally humorous insights are
tinged with hope.
Out of the mouths of babes come simple, unvarnished truths.
New York-based audio producer Johnny (Phoenix) is in Detroit, interviewing young people with colleagues Roxanne (Molly Webster) and Fernando (Jaboukie Young-White), when he receives an urgent telephone call from his estranged sister Viv (Gaby Hoffmann).
She implores Johnny to travel to Los Angeles to take care of her nineyear-old son Jesse (Norman) for a couple of weeks while she supports her ex-husband Paul (Scoot McNairy) as he contends with bipolar disorder.
Unprepared for temporary guardianship, Johnny muddles through each day with Jesse, allowing the inquisitive tyke to use his microphone and recording equipment to capture the cacophony of a city in motion.
When Paul’s mental state worsens, Johnny agrees to take his nephew on the road to New Orleans for more radio interviews and the bond with Jesse deepens.
Meanwhile, a mentally and physically exhausted Viv makes regular phone calls to Johnny to track her boy’s progress.
“I just want Jesse to have his dad,” she quietly confides.
C’mon C’mon is a delicate study of the complexities of youth, reflected in tiny moments between Johnny and Jesse as they seek a deeper understanding and appreciation of each other.
Every minute of Mills’ film is heartbreakingly beautiful and precious.
This boy’s life is truly wondrous.